http://fizzwiki.com/api.php?action=feedcontributions&feedformat=atom&user=ShankaraFizz 2026-09-14T08:17:55Z User contributions MediaWiki 1.45.3 http://fizzwiki.com/index.php?title=Fizz_vs._Jazz&diff=1720 2026-08-09T21:46:16Z

<p>ShankaraFizz: </p> <hr /> <div>{{#seo:|keywords=jazz vs fizz, differences between fizz and jazz, is fizz jazz}}<br /> [[File:Fizz pills and Jazz pills.jpg|thumb|Jazz Pills and Fizz Pills|299x299px]]<br /> [[Fizz]] is a sub-genre of '''EDM''' with a huge amount of '''Jazz''' influence. There are countless similarities between Jazz and Fizz, but their differences warrant categorizing them differently. Similar to how it's useful to categorize Jazz separately from Blues, and Blues separately from Spirituals.<br /> <br /> This is what skeptics tend to misunderstand about Fizz: Fizz '''can't''' identify their music as Jazz since they're musically, culturally and philosophically incompatible. If they did identify as such, the amount of norms being broken would lead them to (rightfully) get criticized by Jazz purists. The Fizz community doesn't identify as it's own thing out of arrogance, disrespect or a delusion that they invented something they didn't, it's purely out of refusal to submit to the [[Jazz Imperial Complex|Jazz imperial complex]], and out of respect for Jazz purists who, if they heard a Fizz song like Weevil Lore by phonon&lt;ref&gt;https://www.youtube.com/watch?v=agb780qtc20&lt;/ref&gt; or LACKSTRIKE by Convexity&lt;ref&gt;https://www.youtube.com/watch?v=zlXMIRpwspM&lt;/ref&gt;, would definitely not say that it's &quot;real Jazz&quot;.<br /> <br /> Let's just say that the ''&quot;Fizz is just repackaged Jazz&quot;'' talking point isn't coming from living Jazz legends like Herbie Hancock, Wynton Marsalis or anyone actually invested in their tradition, it's typically parroted by casual '''Jazz Fusion''' fans that haven't listened to much Fizz, don't have the ear to notice the obvious differences, haven't interacted with any actual Jazz purists who would disagree with them, and think that anything with modal interchange and chord extensions is Jazz (Those things are used regularly in Classical music btw).<br /> <br /> == Differences between Jazz and Fizz ==<br /> The following list contains some of the musical and philosophical differences between the two genres. Some of the characteristics mentioned in the '''Jazz''' column won't necessarily apply to genres that [[Jazz Imperial Complex|identify as Jazz]], like Jazztronica or Nu-Jazz, but that's an issue for them to reckon with.<br /> {| class=&quot;wikitable&quot;<br /> !<br /> !'''Jazz'''<br /> !'''Fizz'''<br /> |-<br /> |'''Improvisation''' <br /> |A core part of the genre. <br /> |Utilized often, but not fundamentally important. <br /> |-<br /> |'''Recorded music vs. live music'''<br /> |In Jazz, the recording of a piece of music is commonly understood to be a snapshot of a live performance, making the record arguably '''less important''' than the live version.<br /> |Because of the production-heavy nature of Fizz, live performances are commonly understood to be instantiations of the recorded, high-effort &quot;ideal&quot; version of the song. Both are seen as '''equally important'''. <br /> |-<br /> |'''Sound design'''<br /> |Used widely in Jazz, but not fundamental at all. <br /> |A core part of the genre, alongside music theory.<br /> |-<br /> |'''Music theory'''<br /> |Heavily embraced.<br /> |A core part of the genre, alongside sound design.<br /> |-<br /> |'''Ethics of production tools'''<br /> |Quantization, autotune and editing are seen as '''permissible''', but these kinds of tools used in excess can make a piece sound overproduced, which takes away from the humanity of it.<br /> |Quantization, autotune and any kind of editing are seen as tools that '''add''' humanity to the music. The term &quot;overproduced&quot; is almost never used unironically in the Fizz community.<br /> |-<br /> |'''Gatekeeping'''<br /> |[[Jazz Imperial Complex]]<br /> |A piece of music is Fizz if the composer identifies it as such. '''Charlie Kirk''' wouldn't agree with this kind of definition, but that's generally how the community thinks about it. The community will occasionally push back against an artist identifying their music as Fizz if they're demonstrably clueless about what it is.<br /> |-<br /> |'''Song structure'''<br /> |Jazz most commonly contains a &quot;head&quot; section, which happens at least twice in the song, and has at least one solo section somewhere in between. What happens around those sections varies from style to style.<br /> |Most Fizz features the kind of sections you'd expect from EDM, like swells, buildups, and drops. Even though Fizz commonly follows a [[Fizz is Pop|Pop-like]] verse-chorus structure, it's notorious for having varied, chaotic, and even disjointed sequences of sections, including breakdowns and &quot;aftersections&quot;.<br /> |-<br /> |'''Instrumentation'''<br /> |Jazz features '''Acoustic''' and '''Electric''' instruments for the most part.<br /> |Fizz features '''Synthetic/Electronic''' and '''Sampled''' sounds for the most part. <br /> |-<br /> |'''Common tropes'''<br /> |ii V I cadences<br /> Chromaticism <br /> <br /> Swing <br /> <br /> Walking bass lines <br /> |VI VII I cadences<br /> Melodic hooks<br /> <br /> Rigid, quantized rhythms<br /> <br /> Jumpy bass lines<br /> |-<br /> |'''Swing'''<br /> |On a basic level, swing is described as a displacement of every other beat on the grid. In reality, swing is an extremely '''complex, fluid grid''' that takes years to feel intuitively (as a musician).<br /> |Swing is understood to be the '''mere mathematical operation''' of displacing every other beat on the grid, often described by percentages (ex. 57% swing, 66% swing) by DAW users.<br /> |-<br /> |'''Harmony'''<br /> | colspan=&quot;2&quot; |Jazz harmony doesn't shy away from utilizing concepts like altered chord extensions, chromaticism, bebop scales and diminished scales. Fizz harmony tends to be more diatonic and use simpler, brighter extensions and scales, with it's complexity arising more from modal interchange.<br /> |-<br /> |'''Percussion'''<br /> | colspan=&quot;2&quot; |For the most part, Jazz uses '''acoustic''' drums, whereas Fizz uses '''electronic''' drums. ''This is also the main factor that differentiates most Jazz from Jazztronica.'' This difference may seem trivial at first, but composers who have experience with both can confirm that acoustic kicks/snares and heavier electronic kicks/snares arguably don't even have the same percussive function. Other small differences include Jazz's iconic ride cymbal patterns, you won't hear much of that in Fizz, and conversely, you won't hear many quantized quarter-note claps in Jazz. <br /> |}<br /> <br /> [[Category:Fizzosophy]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Thingonium_Shockwave&diff=1623 2026-07-27T04:34:10Z

<p>ShankaraFizz: </p> <hr /> <div>A '''thingonium shockwave''' is a hypothetical configuration of matter and energy that is optimized for maximum production of thingonium and release of [[The Thing|þ]] particles. Such an optimized configuration would consist of human or intelligent sapient beings who create musical ideas that have [[The Thing]] (aka thingonium), and do no other action, other than [[wikipedia:Family|creating more matter and energy optimized for creation of more thingonium]].<br /> <br /> It should be noted that a thingonium shockwave is the polar opposite of a '''slop shockwave''', in which matter and energy optimized for pure &quot;ideas&quot; themselves (without the hands and minds of creative sapient beings) begins an endless creation of slop, which would rapidly result in the '''maximum turbo f*cking nightmare scenario''' in which all possible musical ideas in the aether are taken up by slop rather than discovered by a sapient intelligent being.</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Thingonium_Shockwave&diff=1622 2026-07-27T04:33:55Z

<p>ShankaraFizz: </p> <hr /> <div>A '''thingonium shockwave''' is a hypothetical configuration of matter and energy that is optimized for maximum production of thingonium and release of [[The Thing|þ]] particles. Such an optimized configuration would consist of human or intelligent sapient beings who create musical ideas that have The Thing (aka thingonium), and do no other action, other than [[wikipedia:Family|creating more matter and energy optimized for creation of more thingonium]].<br /> <br /> It should be noted that a thingonium shockwave is the polar opposite of a '''slop shockwave''', in which matter and energy optimized for pure &quot;ideas&quot; themselves (without the hands and minds of creative sapient beings) begins an endless creation of slop, which would rapidly result in the '''maximum turbo f*cking nightmare scenario''' in which all possible musical ideas in the aether are taken up by slop rather than discovered by a sapient intelligent being.</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Thingonium_Shockwave&diff=1583 2026-07-26T19:22:26Z

<p>ShankaraFizz: </p> <hr /> <div>A '''thingonium shockwave''' is a hypothetical configuration of matter and energy that is optimized for maximum production of thingonium and release of [[The Thing|þ]] particles. Such an optimized configuration would consistent of human or intelligent sapient beings who create musical ideas that have The Thing (aka thingonium), and do no other action, other than [[wikipedia:Family|creating more matter and energy optimized for creation of more thingonium]].<br /> <br /> It should be noted that a thingonium shockwave is the polar opposite of a '''slop shockwave''', in which matter and energy optimized for pure &quot;ideas&quot; themselves (without the hands and minds of creative sapient beings) begins an endless creation of slop, which would rapidly result in the '''maximum turbo f*cking nightmare scenario''' in which all possible musical ideas in the aether are taken up by slop rather than discovered by a sapient intelligent being.</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Thingonium_Shockwave&diff=1582 2026-07-26T19:21:27Z

<p>ShankaraFizz: Created page with &quot;A &#039;&#039;&#039;thingonium shockwave&#039;&#039;&#039; is a hypothetical configuration of matter and energy that is optimized for maximum production of thingonium and release of þ particles. Such an optimized configuration would consistent of human or intelligent sapient beings who create musical ideas that have The Thing (aka thingonium), and do no other action, other than creating more matter and energy optimized for creation of more thingonium. It should be noted that a thingon...&quot;</p> <hr /> <div>A '''thingonium shockwave''' is a hypothetical configuration of matter and energy that is optimized for maximum production of thingonium and release of [[The Thing|þ]] particles. Such an optimized configuration would consistent of human or intelligent sapient beings who create musical ideas that have The Thing (aka thingonium), and do no other action, other than creating more matter and energy optimized for creation of more thingonium.<br /> <br /> It should be noted that a thingonium shockwave is the polar opposite of a '''slop shockwave''', in which matter and energy optimized for pure &quot;ideas&quot; themselves (without the hands and minds of creative sapient beings) begins an endless creation of slop, which would rapidly result in the '''maximum turbo f*cking nightmare scenario''' in which all possible musical ideas in the aether are taken up by slop rather than discovered by a sapient intelligent being.</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Scottsman%27s_Uncertainty_Principle&diff=1533 2026-07-23T00:25:29Z

<p>ShankaraFizz: Created page with &quot;The &#039;&#039;&#039;Scottsman&#039;s Uncertainty Principle&#039;&#039;&#039; (SUP) refers to the idea that it&#039;s very difficult or impossible to fully perceive the innate, static, or &quot;vertical axis&quot; qualities of a part of a musical gesture without also decoupling those motes and/or particles from the time dimension/horizontal axis dependent context that gives them their full exact feelings and qualities they have. SUP often makes deep listening sessions frustrating for mus...&quot;</p> <hr /> <div>The '''Scottsman's Uncertainty Principle''' (SUP) refers to the idea that it's very difficult or impossible to fully perceive the innate, static, or &quot;vertical axis&quot; qualities of a part of a musical gesture without also decoupling those [[Mote|motes]] and/or [[Particle Awareness|particles]] from the time dimension/horizontal axis dependent context that gives them their full exact feelings and qualities they have. SUP often makes deep listening sessions frustrating for musicians, leaving them feel like no matter how hard they listen, the true secrets of how music works will remain elusive and somewhat ineffable. <br /> <br /> The name &quot;Scottsman&quot; comes from the last name Scott and Sussman, which are the last names of the two fizz musicians who came up with this concept, but it also obviously sounds like &quot;Scotsman&quot;, which is just very funny in multiple ways. The &quot;uncertainty principle&quot; part of the name comes from the [[wikipedia:Uncertainty_principle|Heisenberg Uncertainty Principle]] in physics.</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Fizz_De_Novism&diff=1479 2026-07-20T03:27:20Z

<p>ShankaraFizz: </p> <hr /> <div>''Have you ever heard a musician you admire give the advice &quot;don't try to force the writing process when it's not working, the results aren't great&quot;, and just felt kind of depressed afterwards, as if we're all subject to some kind of musical predestination in how much we can output, and that no one is in control of it at all? Many of us do, and many of us do not want to submit to this fatalistic mindset.'' <br /> <br /> '''De Novism''' (or Denovism, Fizz De Novism) in a nutshell is the view that new ideas and new concepts can always be forced into existence without the permission of a natural force to carry it for you. The concept goes beyond just artistic output or forcing together new musical ideas without feeling inspiration to get you there, and extends to concepts and ideas themselves, which makes de novism an [[wikipedia:Autological_word|autological word]]. De novism is seen by some as presently countercultural, taking a rebellious stance against the [[Kumbaya Ideology|Kumbaya Industrial Complex]] and agency denying ideologies at their core. <br /> <br /> The fizz movement at its core, is denovist in nature, with its [[Torus of Fizzosophy|philosophy]], tenants, image, and self actualization as its own genre being forced into existence without permission, and [[This-is-just-ism|without care what others think]].<br /> <br /> === Practices and Mantras in De Novism ===<br /> '''&quot;You can always force it&quot;.''' It doesn't matter if you don't feel like it, if you don't feel inspiration, if no ideas are coming to you in your head, if you are brutally tinkering with individual notes to get there; you can always force it. Even if it's objectively true you presently cannot, you cannot possibly know that, so don't act as if it's true. Take the denovism wager.<br /> <br /> '''Denovists love forcing new names for things into existence for concepts they are forcing into existence:''' A denovist doesn't succumb to culture or individual pressure telling them their ideas are stupid. Creating new ideas that are useful, and acting as if they've always been reel, and giving them a name, or heck, just giving a name to something that already exists, but everyone was afraid to give it a name. You can always force it. <br /> <br /> '''In the words of Adam Neely Himself: &quot;'''fizz is life&quot;. No wait. Wrong one.&quot;Repetition Legitimizes&quot;. That's the one. Denovism when used to spread concepts is essensially just applied &quot;repetition legitimizes&quot; at mass cultural scale. <br /> <br /> [[Category:Fizzosophy]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=The_Great_Slop_Reset&diff=1478 2026-07-18T07:27:24Z

<p>ShankaraFizz: </p> <hr /> <div>The '''Great Slop Reset''' refers to the idea that all pieces of human made artistic output that previously could have been considered slop all lost their slop status the day genAI output in those artistic fields began flooding the internet, all of which automatically falls into the slop category due to being AI rather than human. <br /> <br /> The word slop is still going to be used to describe low effort, trashy, or cliche human output because it is still a useful term, but this is just a useful fiction, unlike genAI output, which is going to always tell a worse story than anything a human made, no matter how much it conforms to our cultural cannon of what makes good art.<br /> [[Category:Fizz Community]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Utility_Monster_Track&diff=1383 2026-07-15T20:59:53Z

<p>ShankaraFizz: </p> <hr /> <div>A '''Utility Monster Track''' '''(UMT)''' is a released song that is orders of magnitude better, more enjoyed, or higher in [[The Thing|Thingonium]] than the vast majority, or even the entire rest of the discography of the artist(s) or band that released it. One of the most interesting things about UMTs is that they tend to be some the best songs of all time. Many people have at least one UMT they love, with the rest of the writer's discography being only glanced over, usually in disappointment when you realize that pales in comparison to the UMT, and doesn't even sound like it. UMTs are usually one-ofs, especially in the case of a mainstream pop artist that has that one completely ingenious banger you could deep listen to for 100 hours, but sometimes an artist or band will have several of them. A utility monster track is different from just a stand out song, where the difference is less extreme. <br /> <br /> This concept can also apply to improvised solos, where a musician has a stroke of total genius and plays [https://youtu.be/L_XJ_s5IsQc?si=C9XzS_pCpJKumAc9&amp;t=263 a solo out of no where that seems to transcend reality itself with how incredible it is], though Michael League might [https://youtu.be/t7ZlZAGxgyg?si=z3dUrBiQgjVQzKRb&amp;t=51 disagree with this]. <br /> <br /> It is unknown how or why Utility Monster Tracks happen, but their implications could reveal important insights into how the human and specifically the artists' brain functions. Artistic output and how it works is still largely a mystery. It's easy to make fun of someone going full Rick Rubin about one of their tracks and going off about how they had no idea what they were doing when they were making it, but there is a lot of truth to these statements. There just seems to be these stars aligning moments that allow artists to output ingenious works, even if that isn't something they are regularly able to do reliably. &quot;Ingenious&quot; in this context is less likely to refer to technical facility (so not just someone suddenly and magically gaining 10 years of technical ability and specified musical vocabulary internalization overnight only to have it disappear into the void once the song or solo is over) and more likely to refer to internal structural consistency or cleverness of the ideas executed. Or if you're a Fizzhead: &quot;it has [[The Thing]]&quot;.<br /> <br /> One of the proposed reasons why this phenomenon happens is due to the hypothesis that artists are divided into two general groups: Those that cultivate inspiration (could be referred to affectionately as &quot;right brained musicians&quot;), and those have developed a reliable method for outputting music, even when not inspired (could be referred to affectionately as &quot;left brained musicians&quot;). Inspiration is that mystery thing no one fully understands, where artistic output just happens at a level beyond conscious knowledge via some crazy [[wikipedia:Dual_process_theory#System_1|system 1]] magic, or divine intervention, or whatever you believe in. A reliable method is a personal developed method of writing music formed through thousands of hours of consistent practice and [[Fizz De Novism|forcing of output]]. Because inspiration/divine intervention/neurological-magic is of limited supply and is something that comes and goes without warning (or [https://www.youtube.com/watch?v=xxR6Zi1euvc when you turn 30] if you are a doomer about this sort of thing), musicians that rely entirely on it only hit lightning in a bottle a few times in their life, thus resulting in these musical utility monsters. But this is just one hypothesis. <br /> <br /> It should be noted that utility monster tracks are not to be ashamed of. By their very name and nature, they make an artists entire career worth it. It is difficult to spell out just how good some UMTs actually are. One UMT is worth 20 mediocre tracks having to be made just to get to it. The non-UMTs of a musican with UMTs in their library aren't definitionally bad either, they can be really good. It's just about relative difference. UMTs should be seen as very inspiring, and very good news; go make music. your next session could be a utility monster track! <br /> <br /> The name &quot;Utility Monster Track&quot; is in reference to the philosophical idea of a [[wikipedia:Utility_monster|utility monster]], which is a hypothetical being that experiences orders of magnitude higher levels of pain or pleasure than all other agents in a system. Thought experiments around utility monsters ask us to think about to what degree do we give extra ethical weight to a single moral patient that is experiencing these logarithmically extreme valance (the intrinsic felt goodness or badness of a moment of experience or part of experience) states when looking at an entire population of moral patients and agents. Utility Monsters are usually used in reductio ad absurdums against [[wikipedia:Utilitarianism|classical utilitarianism]], in which a hypothetical is raised such as &quot;if there was a single person in the world named Georgo (Jor-joh) that received 40 trillion pleasure units when he listened to a new fizz track, does that mean we should enslave every single musician on earth and just force them to make fizz all day so that Georgo could experience his 40 trillion pleasure units per fizz song, which would bring the net happiness in the universe up by an order of magnitude? I mean surely we must, given that Georgo's happiness would dwarf the net suffering of our burnt out fizz musicians we're holding at gunpoint and forcing to mine thingonium all day&quot;. <br /> <br /> The analogy to UMTs is just referencing that logarithmic difference of goodness in a population or set of things where a small percentage of those things have way more &quot;good units&quot; than the others do. The name however was mostly selected because it's funny above any other reason.<br /> [[Category:Music Theory]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Utility_Monster_Track&diff=1382 2026-07-15T20:55:33Z

<p>ShankaraFizz: </p> <hr /> <div>A '''Utility Monster Track''' '''(UMT)''' is a released song that is orders of magnitude better, more enjoyed, or higher in [[The Thing|Thingonium]] than the vast majority, or even the entire rest of the discography of the artist(s) or band that released it. One of the most interesting things about UMTs is that they tend to be some the best songs of all time. Many people have at least one UMT they love, with the rest of the writer's discography being only glanced over, usually in disappointment when you realize that pales in comparison to the UMT, and doesn't even sound like it. UMTs are usually one-ofs, especially in the case of a mainstream pop artist that has that one completely ingenious banger you could deep listen to for 100 hours, but sometimes an artist or band will have several of them. A utility monster track is different from just a stand out song, where the difference is less extreme. <br /> <br /> This concept can also apply to improvised solos, where a musician has a stroke of total genius and plays [https://youtu.be/L_XJ_s5IsQc?si=C9XzS_pCpJKumAc9&amp;t=263 a solo out of no where that seems to transcend reality itself with how incredible it is], though Michael League might [https://youtu.be/t7ZlZAGxgyg?si=z3dUrBiQgjVQzKRb&amp;t=51 disagree with this]. <br /> <br /> It is unknown how or why Utility Monster Tracks happen, but their implications could reveal important insights into how the human and specifically the artists' brain functions. Artistic output and how it works is still largely a mystery. It's easy to make fun of someone going full Rick Rubin about one of their tracks and going off about how they had no idea what they were doing when they were making it, but there is a lot of truth to these statements. There just seems to be these stars aligning moments that allow artists to output ingenious works, even if that isn't something they are regularly able to do reliably. &quot;Ingenious&quot; in this context is less likely to refer to technical facility (so not just someone suddenly and magically gaining 10 years of technical ability and specified musical vocabulary internalization overnight only to have it disappear into the void once the song or solo is over) and more likely to refer to internal structural consistency or cleverness of the ideas executed. Or if you're a Fizzhead: &quot;it has [[The Thing]]&quot;.<br /> <br /> One of the proposed reasons why this phenomenon happens is due to the hypothesis that artists are divided into two general groups: Those that cultivate inspiration (could be referred to affectionately as &quot;right brained musicians&quot;), and those have developed a reliable method for outputting music, even when not inspired (could be referred to affectionately as &quot;left brained musicians&quot;). Inspiration is that mystery thing no one fully understands, where artistic output just happens at a level beyond conscious knowledge via some crazy [[wikipedia:Dual_process_theory#System_1|system 1]] magic, or divine intervention, or whatever you believe in. A reliable method is a personal developed method of writing music formed through thousands of hours of consistent practice and [[Fizz De Novism|forcing of output]]. Because inspiration/divine intervention/neurological-magic is of limited supply and is something that comes and goes without warning (or [https://www.youtube.com/watch?v=xxR6Zi1euvc when you turn 30] if you are a doomer about this sort of thing), musicians that rely entirely on it only hit lightning in a bottle a few times in their life, thus resulting in these musical utility monsters. But this is just one hypothesis. <br /> <br /> It should be noted that utility monster tracks are not to be ashamed of. By their very name and nature, they make an artists entire career worth it. It is difficult to spell out just how good some UMTs actually are. One UMT is worth 20 mediocre tracks having to be made just to get to it. The non-UMTs of a musican with UMTs in their library aren't definitionally bad either, they can be really good. It's just about relative difference. UMTs should be seen as very inspiring, and very good news; go make music. your next session could be a utility monster track! <br /> <br /> The name &quot;Utility Monster Track&quot; is in reference to the philosophical idea of a [[wikipedia:Utility_monster|utility monster]], which is a hypothetical being that experiences orders of magnitude higher levels of pain or pleasure than all other agents in a system. Thought experiments around utility monsters ask us to think about to what degree do we give extra ethical weight to a single moral patient that is experiencing these logarithmically extreme valance (the intrinsic felt goodness or badness of a moment of experience or part of experience) states when looking at an entire population of moral patients and agents. Utility Monsters are usually used in reductio ad absurdums against [[wikipedia:Utilitarianism|classical utilitarianism]], in which a hypothetical is raised such as &quot;if there was a single person in the world named Georgo (Jor-joh) that received 40 trillion pleasure units when he listened to a new fizz track, does that mean we should enslave every single musician on earth and just force them to make fizz all day so that Georgo could experience his 40 trillion pleasure units per fizz song, which would bring the net happiness in the universe up by an order of magnitude? I mean surely we must, given that Georgo's happiness would dwarf the net suffering of our burnt out fizz musicians we're holding at gunpoint and forcing to mine thingonium all day&quot;. <br /> <br /> The analogy to UMTs is just referencing that logarithmic difference of goodness in a population or set of things where a small percentage of those things have way more &quot;good unites&quot; than the others do. The name however was mostly selected because it's funny above any other reason.<br /> [[Category:Music Theory]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Cruel_Ragebait&diff=1378 2026-07-14T23:32:14Z

<p>ShankaraFizz: </p> <hr /> <div>'''Cruel Ragebait''' is when a powerful person or group of people that engages in harmful or rights violating actions against less powerful victims use memes, trolling, jokes, or quips to create a pseudo-parody or pseudo-hyperbolic narrative version of their harmful actions. Cruel ragebait is created for the enjoyment of the tyrant and their supporters, who enjoy watching their victims or opposers &quot;fall&quot; for the ragebait version of their actions which are basically just the same thing as their actual actions. In a nutshell, cruel ragebait is a common practice done by people who are widely hated for a good reason. <br /> <br /> Examples of cruel-bait include Peter Theil naming his surveillance company &quot;Palantir&quot;, Mr Beast saying that he has less money than you, and most of the Whitehouse's current twitter feed. <br /> <br /> Cruel-bait is often made with the assistance of generative AI. The two things basically go hand and hand.<br /> <br /> <br /> <br /> [[File:Trump.jpg|thumb]] <br /> [[Category:Other]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Cruel_Ragebait&diff=1377 2026-07-14T23:28:25Z

<p>ShankaraFizz: </p> <hr /> <div>'''Cruel Ragebait''' is when a powerful person or group of people that engages in harmful or rights violating actions against less powerful victims use memes, trolling, jokes, or quips to create a pseudo-parody or pseudo-hyperbolic narrative version of their harmful actions. Cruel ragebait is created for the enjoyment of the tyrant and their supporters, who enjoy watching their victims or opposers &quot;fall&quot; for the ragebait version of their actions which are basically just the same thing as their actual actions.<br /> <br /> Examples of cruel-bait include Peter Theil naming his surveillance company &quot;Palantir&quot;, Mr Beast saying that he has less money than you, and most of the Whitehouse's current twitter feed. <br /> <br /> Cruel-bait is often made with the assistance of generative AI. The two things basically go hand and hand.<br /> <br /> <br /> <br /> [[File:Trump.jpg|thumb]] <br /> [[Category:Other]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Fizz_is_Pop&diff=1357 2026-07-12T07:03:31Z

<p>ShankaraFizz: </p> <hr /> <div>[[File:Fizz is Pop.jpg|thumb|&quot;Fizz is Pop&quot; tongue-in-cheek bell curve meme from the fizzmemes_ page on Instagram]]<br /> '''&quot;Fizz is Pop&quot;''' is a saying in [[fizz]] music culture that brings light to the idea that fizz music, despite being a '''based''' genre (in the same broader way that progressive jazz and EDM music tend to be) is at its core far more about intentional clarity and defined gestures than about technicality or complexity as an end in and of itself (even though those things do show up all the time in fizz. &quot;unhinged musical shenanigans&quot; and &quot;music theory and sound design abuse&quot; are essential tenants of [[Torus of Fizzosophy|fizzosophy]] afterall). Fizz musicians commonly refer to this defined and intentional gestural clarity as &quot;[[The Thing]]&quot;, which is believed by some to be the [[Dark Fizz|most important idea]] in the [[Fizz Movement|fizz movement]] (aside from perhaps saving human made art itself from the coming [[The Great Slop Reset|slopocalypse]]) when you strip everything down to its core. This core philosophy and goal of &quot;Endless Pursuit of The Thing&quot; within fizz, as well as the tenant &quot;Everything Matters&quot; (where every single musical choice down to the smallest decisions about individual notes are recognized as a deliberate intentions that changes the final result) are philosophies that fizz music and pop music shares. This makes the best fizz music more in line the best pop music [[Fizz vs. Jazz|than it does with jazz]] music, which explains why based pop songs are far more talked about amongst fizz musicians than complex progressive jazz music is. <br /> <br /> The saying was created in opposition to [[This-is-just-ism|denial of fizz as its own genre]] and as a clap-back to accusations that fizz musicians dislike simple music. Some of these accusations go as far as accusing fizz musicians of being snobby and having harbouring some form of naive elitism about music, implying that when a fizz musician dislikes a song it's because there aren't [[Oreo Theory|7+ notes per chord]] and the song isn't going full Tigran Hamasyan with the time signatures, rather than that maybe the song just isn't that interesting or is lacking in intention (something that both complex songs and simple songs can suffer from). These pervasive myths about fizz musicians' tastes never cease to get internal eye rolls from fizz musicians that have heard them for the millionth time. Maybe you said it, and got sent this page in response, but it's okay, now you probably understand why it's wrong once you've gone [https://fizzwiki.com/Special:AllPages down the rabbit-hole] here. <br /> <br /> &quot;Fizz is pop&quot; in its phrasing is a bit of an aphorism, bordering on a humorous half truth and tongue and cheek metaphorical figure of speech. <br /> <br /> [[Category:Fizz Lore]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Fizz_is_Pop&diff=1356 2026-07-12T07:02:42Z

<p>ShankaraFizz: </p> <hr /> <div>[[File:Fizz is Pop.jpg|thumb|&quot;Fizz is Pop&quot; tongue-in-cheek bell curve meme from the fizzmemes_ page on Instagram]]<br /> '''&quot;Fizz is Pop&quot;''' is a saying in [[fizz]] music culture that brings light to the idea that fizz music, despite being a '''based''' genre (in the same broader way that progressive jazz and EDM music tend to be) is at its core far more about intentional clarity and defined gestures than about technicality or complexity as an end in and of itself (even though those things do show up all the time in fizz. &quot;unhinged musical shenanigans&quot; and &quot;music theory and sound design abuse&quot; are essential tenants of [[Torus of Fizzosophy|fizzosophy]] afterall). Fizz musicians commonly refer to this defined and intentional gestural clarity as &quot;[[The Thing]]&quot;, which is believed by some to be the [[Dark Fizz|most important idea]] in the [[Fizz Movement|fizz movement]] (aside from perhaps saving human made art itself from the coming [[The Great Slop Reset|slopocalypse]]) when you strip everything down to its core. This core philosophy and goal of &quot;Endless Pursuit of The Thing&quot; within fizz, as well as the tenant &quot;Everything Matters&quot; (where every single musical choice down to the smallest decisions about individual notes are recognized as a deliberate intentions that changes the final result) are philosophies that fizz music and pop music shares. This makes the best fizz music more in line the best pop music [[Fizz vs. Jazz|than it does with jazz]] music, which explains why based pop songs are far more talked about amongst fizz musicians than complex progressive jazz music is. <br /> <br /> The saying was created in opposition to [[This-is-just-ism|denial of fizz as its own genre]] and as a clap-back to accusations that fizz musicians dislike simple music. Some of these accusations go as far as accusing fizz musicians of being snobby and having harbouring some form of naive elitism about music, implying that when a fizz musician dislikes a song it's because there aren't [[Oreo Theory|7+ notes per chord]] and the song isn't going full Tigran Hamasyan with the time signatures, rather than that maybe the song just isn't that interesting or is lacking in intention (something that both complex songs and simple songs can suffer from). These pervasive myths about fizz musicians' tastes never cease to get internal eye rolls from fizz musicians that have heard it for the millionth time. Maybe you said it, and got sent this page in response, but it's okay, now you probably understand why it's wrong once you've gone [https://fizzwiki.com/Special:AllPages down the rabbit-hole] here. <br /> <br /> &quot;Fizz is pop&quot; in its phrasing is a bit of an aphorism, bordering on a humorous half truth and tongue and cheek metaphorical figure of speech. <br /> <br /> [[Category:Fizz Lore]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Fizz_is_Pop&diff=1355 2026-07-12T07:02:21Z

<p>ShankaraFizz: </p> <hr /> <div>[[File:Fizz is Pop.jpg|thumb|&quot;Fizz is Pop&quot; tongue-in-cheek bell curve meme from the fizzmemes_ page on Instagram]]<br /> '''&quot;Fizz is Pop&quot;''' is a saying in [[fizz]] music culture that brings light to the idea that fizz music, despite being a '''based''' genre (in the same broader way that progressive jazz and EDM music tend to be) is at its core far more about intentional clarity and defined gestures than about technicality or complexity as an end in and of itself (even though those things do show up all the time in fizz. &quot;unhinged musical shenanigans&quot; and &quot;music theory and sound design abuse&quot; are essential tenants of [[Torus of Fizzosophy|fizzosophy]] afterall). Fizz musicians commonly refer to this defined and intentional gestural clarity as &quot;[[The Thing]]&quot;, which is believed by some to be the [[Dark Fizz|most important idea]] in the [[Fizz Movement|fizz movement]] (aside from perhaps saving human made art itself from the coming [[The Great Slop Reset|slopocalypse]]) when you strip everything down to its core. This core philosophy and goal of &quot;Endless Pursuit of The Thing&quot; within fizz, as well as the tenant &quot;Everything Matters&quot; (where every single musical choice down to the smallest decisions about individual notes are recognized as a deliberate intentions that changes the final result) are philosophies that fizz music and pop music shares. This makes the best fizz music more in line the best pop music [[Fizz vs. Jazz|than it does with jazz]] music, which explains why based pop songs are far more talked about amongst fizz musicians than complex progressive jazz music is. <br /> <br /> The saying was created in opposition to [[This-is-just-ism|denial of fizz as its own genre]] and as a clap-back to accusations that fizz musicians dislike simple music. Some of these accusations go as far as accusing fizz musicians of being snobby and having harbouring a sort of naive elitism about music, implying that when a fizz musician dislikes a song it's because there aren't [[Oreo Theory|7+ notes per chord]] and the song isn't going full Tigran Hamasyan with the time signatures, rather than that maybe the song just isn't that interesting or is lacking in intention (something that both complex songs and simple songs can suffer from). These pervasive myths about fizz musicians' tastes never cease to get internal eye rolls from fizz musicians that have heard it for the millionth time. Maybe you said it, and got sent this page in response, but it's okay, now you probably understand why it's wrong once you've gone [https://fizzwiki.com/Special:AllPages down the rabbit-hole] here. <br /> <br /> &quot;Fizz is pop&quot; in its phrasing is a bit of an aphorism, bordering on a humorous half truth and tongue and cheek metaphorical figure of speech. <br /> <br /> [[Category:Fizz Lore]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Fizz_is_Pop&diff=1354 2026-07-12T07:02:11Z

<p>ShankaraFizz: </p> <hr /> <div>[[File:Fizz is Pop.jpg|thumb|&quot;Fizz is Pop&quot; tongue-in-cheek bell curve meme from the fizzmemes_ page on Instagram]]<br /> '''&quot;Fizz is Pop&quot;''' is a saying in [[fizz]] music culture that brings light to the idea that fizz music, despite being a '''based''' genre (in the same broader way that progressive jazz and EDM music tend to be) is at its core far more about intentional clarity and defined gestures than about technicality or complexity as an end in and of itself (even though those things do show up all the time in fizz. &quot;unhinged musical shenanigans&quot; and &quot;music theory and sound design abuse&quot; are essential tenants of [[Torus of Fizzosophy|fizzosophy]] afterall). Fizz musicians commonly refer to this defined and intentional gestural clarity as &quot;[[The Thing]]&quot;, which is believed by some to be the [[Dark Fizz|most important idea]] in the [[Fizz Movement|fizz movement]] (aside from perhaps saving human made art itself from the coming [[The Great Slop Reset|slopocalypse]]) when you strip everything down to its core. This core philosophy and goal of &quot;Endless Pursuit of The Thing&quot; within fizz, as well as the tenant &quot;Everything Matters&quot; (where every single musical choice down to the smallest decisions about individual notes are recognized as a deliberate intentions that changes the final result) are philosophies that fizz music and pop music shares. This makes the best fizz music more in line the best pop music [[Fizz vs. Jazz|than it does with jazz]] music, which explains why based pop songs are far more talked about amongst fizz musicians than complex progressive jazz music is. <br /> <br /> The saying was created in opposition to [[This-is-just-ism|denial of fizz as its own genre]] and as a clap-back to accusations that fizz musicians dislike simple music. Some of these accusations go as far as accusing fizz musicians of being snobby and having harbouring a of naive elitism about music, implying that when a fizz musician dislikes a song it's because there aren't [[Oreo Theory|7+ notes per chord]] and the song isn't going full Tigran Hamasyan with the time signatures, rather than that maybe the song just isn't that interesting or is lacking in intention (something that both complex songs and simple songs can suffer from). These pervasive myths about fizz musicians' tastes never cease to get internal eye rolls from fizz musicians that have heard it for the millionth time. Maybe you said it, and got sent this page in response, but it's okay, now you probably understand why it's wrong once you've gone [https://fizzwiki.com/Special:AllPages down the rabbit-hole] here. <br /> <br /> &quot;Fizz is pop&quot; in its phrasing is a bit of an aphorism, bordering on a humorous half truth and tongue and cheek metaphorical figure of speech. <br /> <br /> [[Category:Fizz Lore]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Fizz_is_Pop&diff=1353 2026-07-12T07:01:52Z

<p>ShankaraFizz: </p> <hr /> <div>[[File:Fizz is Pop.jpg|thumb|&quot;Fizz is Pop&quot; tongue-in-cheek bell curve meme from the fizzmemes_ page on Instagram]]<br /> '''&quot;Fizz is Pop&quot;''' is a saying in [[fizz]] music culture that brings light to the idea that fizz music, despite being a '''based''' genre (in the same broader way that progressive jazz and EDM music tend to be) is at its core far more about intentional clarity and defined gestures than about technicality or complexity as an end in and of itself (even though those things do show up all the time in fizz. &quot;unhinged musical shenanigans&quot; and &quot;music theory and sound design abuse&quot; are essential tenants of [[Torus of Fizzosophy|fizzosophy]] afterall). Fizz musicians commonly refer to this defined and intentional gestural clarity as &quot;[[The Thing]]&quot;, which is believed by some to be the [[Dark Fizz|most important idea]] in the [[Fizz Movement|fizz movement]] (aside from perhaps saving human made art itself from the coming [[The Great Slop Reset|slopocalypse]]) when you strip everything down to its core. This core philosophy and goal of &quot;Endless Pursuit of The Thing&quot; within fizz, as well as the tenant &quot;Everything Matters&quot; (where every single musical choice down to the smallest decisions about individual notes are recognized as a deliberate intentions that changes the final result) are philosophies that fizz music and pop music shares. This makes the best fizz music more in line the best pop music [[Fizz vs. Jazz|than it does with jazz]] music, which explains why based pop songs are far more talked about amongst fizz musicians than complex progressive jazz music is. <br /> <br /> The saying was created in opposition to [[This-is-just-ism|denial of fizz as its own genre]] and as a clap-back to accusations that fizz musicians dislike simple music. Some of these accusations go as far as accusing fizz musicians of being snobby and having a sort of naive elitism about music, implying that when a fizz musician dislikes a song it's because there aren't [[Oreo Theory|7+ notes per chord]] and the song isn't going full Tigran Hamasyan with the time signatures, rather than that maybe the song just isn't that interesting or is lacking in intention (something that both complex songs and simple songs can suffer from). These pervasive myths about fizz musicians' tastes never cease to get internal eye rolls from fizz musicians that have heard it for the millionth time. Maybe you said it, and got sent this page in response, but it's okay, now you probably understand why it's wrong once you've gone [https://fizzwiki.com/Special:AllPages down the rabbit-hole] here. <br /> <br /> &quot;Fizz is pop&quot; in its phrasing is a bit of an aphorism, bordering on a humorous half truth and tongue and cheek metaphorical figure of speech. <br /> <br /> [[Category:Fizz Lore]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Algorithmic_Entropy&diff=1352 2026-07-12T06:58:26Z

<p>ShankaraFizz: </p> <hr /> <div>Have you ever found a cool song or artist whilst using a music streaming service e.i Spotify, YoutubeMusic, Tidal etc. and then hit the autoplay or mix feature to find more stuff like it, only to within seven or so songs been served a stream of [[Fizz vs. Jazz|barely sonically related]], increasingly popular by view count tracks? What you are experiencing, typically frustratingly, is '''algorithmic entropy.''' This phenomenon is the result of recommendation algorithms tending to opt for low risk vectors, such as '''shared audience''', so as to lessen the probability that you will '''dislike''' a track being automatically recommended to you. This ironically for a '''based''' music head (such as a fizz musician) tends to result in a rapid '''de-based-ening ('''or at least '''de-sonically-comparible-ening)''' of your incoming music. You find '''blowfish snorkeling,''' and before you know it you're getting jump-scared by '''Dean Town at Madison Square Garden''' or '''Night in Tenusia (in 13/8)''' for the hundred millionth time. <br /> <br /> What the solution for this problem is at present time is unknown, other than just hoping that the algorithms improve overtime and that streaming services start letting you tailor what the incoming recs are opting for (and doing so without also using the tech in a way that facilitates the '''[[The Great Slop Reset|Great Slop Reset]]).''' <br /> <br /> &quot;dude the algorithmic entropy on YouTubeMusic is insane. I found this really cool video game music inspired EDM track and within 8 tracks it was just playing harmonic minor festival slop&quot; <br /> <br /> &quot;Yeah that's not just algorithmic entropy. That indie girl song you autoplayed from is just a really unique [[Utility Monster Track|utility monster track]]&quot; <br /> <br /> [[Category:Music Theory]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Horrid_F*cking_Scale_Degrees&diff=1351 2026-07-12T06:16:33Z

<p>ShankaraFizz: </p> <hr /> <div>[[File:MiddleC.jpg|thumb|The note of '''middle C''' written down in an '''insufferable''' way.]]<br /> '''Horrid f*cking scale degrees''' are, as their name indicates, intervalic scale degrees that '''absolutely suck'''. Scale degrees like a ''𝄫5 (double flat fifth)'' or ''𝄪4 (double sharp fourth)'' are immensely stupid, pointless, superfluous and shouldn't exist at all because they can be easily simplified to their enharmonic equivalents. They only exist thanks to mischeivous music theorists, like [[wikipedia:Johann_Mattheson|Johann MattheSON]] or [[wikipedia:Leopold_Mozart|Leopold Mozart]], for the sole purpose of sabotaging the performer's understanding of notation.<br /> <br /> It's been noticed that even followers of [[Rotational Fizz|Zen Fizz]] secretly hate this thing.<br /> <br /> An example of horrid fucking scale degrees in a scale could be [https://ianring.com/musictheory/scales/699 scale 699] - '''Ultralocrian ''𝄫5''''' (the '''Kertishean''' scale in the [[KyjMUC space]]). This is the step formula (with T for 3 semitones):<br /> H W H H W W T<br /> The scale degrees will then look like this:<br /> 1 ♭2 ♭3 ♭4 𝄫5 𝄫6 𝄫7<br /> Absolutely disgusting. Luckily, we can simplify it in this way:<br /> 1 ♭2 ♭3 3 4 5 6<br /> Much less scary now, isn't it? Using horrid scale degrees without including equivalents (at least in brackets) is the same as asking a musician to play the 9th mode of Chlamydian ♭5 ♭6 ♭7 in the key of A''𝄪''♯ - which would in full understanding result in simply playing a f*cking C major scale. <br /> <br /> An allegory for a layman's view could be telling someone to do 560-80*[(√7)(√7)]+(0,39900000 + 0,601000⁹) sommersaults 29827637890 times. '''The number of sommersaults done would then be 1.'''<br /> <br /> This is one of the main problems of western music notation listed by Tantacrul in his video essay [https://youtu.be/Eq3bUFgEcb4 &quot;Notation Must Die : The Battle For How We Read Music&quot;].<br /> <br /> Another, even more severe example of horrid fucking scale degrees in a heptatonic scale is the '''Altered ''𝄫''3''𝄫''4''𝄫''5''𝄫''6''𝄫''7''' scale ('''Parabriggsian''' in KyjMUC). This is what the unsimplified scale degrees look like:<br /> 1 ♭2 𝄫3 𝄫4 𝄫5 𝄫6 𝄫7<br /> Or even worse, the '''&quot;Incoherent&quot; scale''' ('''Horrible''' in KyjMUC), which is, however, a horrible scale on it's own, where common notation isn't to blame:<br /> 1 ♭2 𝄫3 𝄫4 𝄫♭5 𝄫𝄫6 𝄫♭7<br /> <br /> [[Category:Music Theory]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Horrid_F*cking_Scale_Degrees&diff=1345 2026-07-11T22:48:14Z

<p>ShankaraFizz: </p> <hr /> <div>[[File:MiddleC.jpg|thumb|The note of '''middle C''' written down in an '''insufferable''' way.]]<br /> '''Horrid fucking scale degrees''' are, as their name indicates, intervalic scale degrees that '''absolutely suck'''. Scale degrees like a ''𝄫5 (double flat fifth)'' or ''𝄪4 (double sharp fourth)'' are immensely stupid, pointless, superfluous and shouldn't exist at all because they can be easily simplified to their enharmonic equivalents. They only exist thanks to mischeivous music theorists, like [[wikipedia:Johann_Mattheson|Johann MattheSON]] or [[wikipedia:Leopold_Mozart|Leopold Mozart]], for the sole purpose of sabotaging the performer's understanding of notation.<br /> <br /> It's been noticed that even followers of [[Rotational Fizz|Zen Fizz]] secretly hate this thing.<br /> <br /> An example of horrid fucking scale degrees in a scale could be [https://ianring.com/musictheory/scales/699 scale 699] - '''Ultralocrian ''𝄫5''''' (the '''Kertishean''' scale in the [[KyjMUC space]]). This is the step formula (with T for 3 semitones):<br /> H W H H W W T<br /> The scale degrees will then look like this:<br /> 1 ♭2 ♭3 ♭4 𝄫5 𝄫6 𝄫7<br /> Absolutely disgusting. Luckily, we can simplify it in this way:<br /> 1 ♭2 ♭3 3 4 5 6<br /> Much less scary now, isn't it? Using horrid scale degrees without including equivalents (at least in brackets) is the same as asking a musician to play the 9th mode of Chlamydian ♭5 ♭6 ♭7 in the key of A''𝄪''♯ - which would in full understanding result in simply playing a fucking C major scale. <br /> <br /> An allegory for a layman's view could be telling someone to do 560-80*[(√7)(√7)]+(0,39900000 + 0,601000⁹) sommersaults 29827637890 times. '''The number of sommersaults done would then be 1.'''<br /> <br /> This is one of the main problems of western music notation listed by Tantacrul in his video essay [https://youtu.be/Eq3bUFgEcb4 &quot;Notation Must Die : The Battle For How We Read Music&quot;].<br /> <br /> Another, even more severe example of horrid fucking scale degrees in a heptatonic scale is the '''Altered ''𝄫''3''𝄫''4''𝄫''5''𝄫''6''𝄫''7''' scale ('''Parabriggsian''' in KyjMUC). This is what the unsimplified scale degrees look like:<br /> 1 ♭2 𝄫3 𝄫4 𝄫5 𝄫6 𝄫7<br /> Or even worse, the '''&quot;Incoherent&quot; scale''' ('''Horrible''' in KyjMUC), which is, however, a horrible scale on it's own, where common notation isn't to blame:<br /> 1 ♭2 𝄫3 𝄫4 𝄫♭5 𝄫𝄫6 𝄫♭7<br /> <br /> [[Category:Music Theory]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Fizz_is_Pop&diff=1317 2026-07-10T19:48:22Z

<p>ShankaraFizz: </p> <hr /> <div>[[File:Fizz is Pop.jpg|thumb|&quot;Fizz is Pop&quot; tongue in cheek bellcurve meme from the fizzmemes_ page on instagram]]<br /> '''&quot;Fizz is Pop&quot;''' is a saying in [[fizz]] music culture that brings light to the idea that fizz music, despite being a '''based''' genre (in the same broader way that progressive jazz and EDM music tend to be) is at its core far more about intentional clarity and defined gestures than about technicality or complexity as an end in and of itself (even though those things do show up all the time in fizz. &quot;unhinged musical shenanigans&quot; and &quot;music theory and sound design abuse&quot; are essential tenants of [[Torus of Fizzosophy|fizzosophy]] afterall). Fizz musicians commonly refer to this defined and intentional gestural clarity as &quot;[[The Thing]]&quot;, which is believed by some to be the [[Dark Fizz|most important idea]] in the [[Fizz Movement|fizz movement]] (aside from perhaps saving human made art itself from the coming [[The Great Slop Reset|slopocalypse]]) when you strip everything down to its core. This core philosophy and goal of &quot;Endless Pursuit of The Thing&quot; within fizz, as well as the tenant &quot;Everything Matters&quot; (where every single musical choice down to the smallest decisions about individual notes are recognized as a deliberate intentions that changes the final result) are philosophies that fizz music and pop music shares. This makes the best fizz music more in line the best pop music [[Fizz vs. Jazz|than it does with jazz]] music, which explains why based pop songs are far more talked about amongst fizz musicians than complex progressive jazz music is. <br /> <br /> The saying was created in opposition to [[This-is-just-ism|denial of fizz as its own genre]] and as a clap-back to accusations that fizz musicians dislike simple music. Some of these accusations go as far accusing fizz musicians of being snobby and having naive elitism about music, implying that when a fizz musician dislikes a song it's because there aren't [[Oreo Theory|7+ notes per chord]] and the song isn't going full Tigran Hamasyan with the time signatures, rather than that maybe the song just isn't that interesting or is lacking in intention (something that both complex songs and simple songs can suffer from). These pervasive myths about fizz musicians' tastes never cease to get internal eye rolls from fizz musicians that have heard it for the millionth time. Maybe you said it, and got sent this page in response, but it's okay, now you probably understand why it's wrong once you've gone [https://fizzwiki.com/Special:AllPages down the rabbit-hole] here. <br /> <br /> &quot;Fizz is pop&quot; in its phrasing is a bit of an aphorism, bordering on a humorous half truth and tongue and cheek metaphorical figure of speech. <br /> <br /> [[Category:Fizz Lore]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Utility_Monster_Track&diff=1297 2026-07-09T23:15:14Z

<p>ShankaraFizz: </p> <hr /> <div>A '''Utility Monster Track''' '''(UMT)''' is a released song that is orders of magnitude better, more enjoyed, or higher in [[The Thing|Thingonium]] than the vast majority, or even the entire rest of the discography of the artist(s) or band that released it. One of the most interesting things about UMTs is that they tend to be some the best songs of all time. Many people have at least one UMT they love, with the rest of the writer's discography being only glanced over, usually in disappointment when you realize that pales in comparison to the UMT, and doesn't even sound like it. UMTs are usually one-ofs, especially in the case of a mainstream pop artist that has that one completely ingenious banger you could deep listen to for 100 hours, but sometimes an artist or band will have several of them. A utility monster track is different from just a stand out song, where the difference is less extreme. <br /> <br /> This concept can also apply to improvised solos, where a musician has a stroke of total genius and plays [https://youtu.be/L_XJ_s5IsQc?si=C9XzS_pCpJKumAc9&amp;t=263 a solo out of no where seems to transcend reality itself with how incredible it is], though Michael League might [https://youtu.be/t7ZlZAGxgyg?si=z3dUrBiQgjVQzKRb&amp;t=51 disagree with this]. <br /> <br /> It is unknown how or why Utility Monster Tracks happen, but their implications could reveal important insights into how the human and specifically the artists' brain functions. Artistic output and how it works is still largely a mystery. It's easy to make fun of someone going full Rick Rubin about one of their tracks and going off about how they had no idea what they were doing when they were making it, but there is a lot of truth to these statements. There just seems to be these stars aligning moments that allow artists to output ingenious works, even if that isn't something they are regularly able to do reliably. &quot;Ingenious&quot; in this context is less likely to refer to technical facility (so not just someone suddenly and magically gaining 10 years of technical ability and specified musical vocabulary internalization overnight only to have it disappear into the void once the song or solo is over) and more likely to refer to internal structural consistency or cleverness of the ideas executed. Or if you're a Fizzhead: &quot;it has [[The Thing]]&quot;.<br /> <br /> One of the proposed reasons why this phenomenon happens is due to the hypothesis that artists are divided into two general groups: Those that cultivate inspiration (could be referred to affectionately as &quot;right brained musicians&quot;), and those have developed a reliable method for outputting music, even when not inspired (could be referred to affectionately as &quot;left brained musicians&quot;). Inspiration is that mystery thing no one fully understands, where artistic output just happens at a level beyond conscious knowledge via some crazy [[wikipedia:Dual_process_theory#System_1|system 1]] magic, or divine intervention, or whatever you believe in. A reliable method is a personal developed method of writing music formed through thousands of hours of consistent practice and [[Fizz De Novism|forcing of output]]. Because inspiration/divine intervention/neurological-magic is of limited supply and is something that comes and goes without warning (or [https://www.youtube.com/watch?v=xxR6Zi1euvc when you turn 30] if you are a doomer about this sort of thing), musicians that rely entirely on it only hit lightning in a bottle a few times in their life, thus resulting in these musical utility monsters. But this is just one hypothesis. <br /> <br /> It should be noted that utility monster tracks are not to be ashamed of. By their very name and nature, they make an artists entire career worth it. It is difficult to spell out just how good some UMTs actually are. One UMT is worth 20 mediocre tracks having to be made just to get to it. The non-UMTs of a musican with UMTs in their library aren't definitionally bad either, they can be really good. It's just about relative difference. UMTs should be seen as very inspiring, and very good news; go make music. your next session could be a utility monster track! <br /> <br /> The name &quot;Utility Monster Track&quot; is in reference to the philosophical idea of a [[wikipedia:Utility_monster|utility monster]], which is a hypothetical being that experiences orders of magnitude higher levels of pain or pleasure than all other agents in a system. Thought experiments around utility monsters ask us to think about to what degree do we give extra ethical weight to a single moral patient that is experiencing these logarithmically extreme valance (the intrinsic felt goodness or badness of a moment of experience or part of experience) states when looking at an entire population of moral patients and agents. Utility Monsters are usually used in reductio ad absurdums against [[wikipedia:Utilitarianism|classical utilitarianism]], in which a hypothetical is raised such as &quot;if there was a single person in the world named Georgo (Jor-joh) that received 40 trillion pleasure units when he listened to a new fizz track, does that mean we should enslave every single musician on earth and just force them to make fizz all day so that Georgo could experience his 40 trillion pleasure units per fizz song, which would bring the net happiness in the universe up by an order of magnitude? I mean surely we must, given that Georgo's happiness would dwarf the net suffering of our burnt out fizz musicians we're holding at gunpoint and forcing to mine thingonium all day&quot;. <br /> <br /> The analogy to UMTs is just referencing that logarithmic difference of goodness in a population or set of things where a small percentage of those things have way more &quot;good unites&quot; than the others do. The name however was mostly selected because it's funny above any other reason.<br /> [[Category:Music Theory]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Utility_Monster_Track&diff=1296 2026-07-09T23:14:43Z

<p>ShankaraFizz: </p> <hr /> <div>A '''Utility Monster Track''' '''(UMT)''' is a released song that is orders of magnitude better, more enjoyed, or higher in [[The Thing|Thingonium]] than the vast majority, or even the entire rest of the discography of the artist(s) or band that released it. One of the most interesting things about UMTs is that they tend to be some the best songs of all time. Many people have at least one UMT they love, with the rest of the writer's discography being only glanced over, usually in disappointment when you realize that pales in comparison to the UMT, and doesn't even sound like it. UMTs are usually one-ofs, especially in the case of a mainstream pop artist that has that one completely ingenious banger you could deep listen to for 100 hours, but sometimes an artist or band will have several of them. A utility monster track is different from just a stand out song, where the difference is less extreme. <br /> <br /> This concept can also apply to improvised solos, where a musician has a stroke of total genius and plays [https://youtu.be/L_XJ_s5IsQc?si=C9XzS_pCpJKumAc9&amp;t=263 a solo out of no where seems to transcend reality itself with how incredible it is], though Michael League might [https://youtu.be/t7ZlZAGxgyg?si=z3dUrBiQgjVQzKRb&amp;t=51 disagree with this]. <br /> <br /> It is unknown how or why Utility Monster Tracks happen, but their implications could reveal important insights into how the human and specifically the artists' brain functions. Artistic output and how it works is still largely a mystery. It's easy to make fun of someone going full Rick Rubin about one of their tracks and going off about how they had no idea what they were doing when they were making it, but there is a lot of truth to these statements. There just seems to be these stars aligning moments that allow artists to output ingenious works, even if that isn't something they are regularly able to do reliably. &quot;Ingenious&quot; in this context is less likely to refer to technical facility (so not just someone suddenly and magically gaining 10 years of technical ability and specified musical vocabulary internalization overnight only to have it disappear into the void once the song or solo is over) and more likely to refer to internal structural consistency or cleverness of the ideas executed. Or if you're a Fizzhead: &quot;it has [[The Thing]]&quot;.<br /> <br /> One of the proposed reasons why this phenomenon happens is due to the hypothesis that artists are divided into two general groups: Those that cultivate inspiration (could be referred to affectionately as &quot;right brained musicians&quot;), and those have developed a reliable method for outputting music, even when not inspired (could be referred to affectionately as &quot;left brained musicians&quot;). Inspiration is that mystery thing no one fully understands, where artistic output just happens at a level beyond conscious knowledge via some crazy [[wikipedia:Dual_process_theory#System_1|system 1]] magic, or divine intervention, or whatever you believe in. A reliable method is a personal developed method of writing music formed through thousands of hours of consistent practice and [[Fizz De Novism|forcing of output]]. Because inspiration/divine intervention/neurological-magic is of limited supply and is something that comes and goes without warning (or [https://www.youtube.com/watch?v=xxR6Zi1euvc when you turn 30] if you are a doomer about this sort of thing), musicians that rely entirely on it only hit lightning in a bottle a few times in their life, thus resulting in these musical utility monsters. But this is just one hypothesis. <br /> <br /> It should be noted that utility monster tracks are not to be ashamed of. By their very name and nature, they make an artists entire career worth it. It is difficult to spell out just how good some UMTs actually are. One UMT is worth 20 mediocre tracks having to be made just to get to it. The non-UMTs of a musican with UMTs in their library aren't definitionally bad either, they can be really good. It's just about relative difference. UMTs should be seen as very inspiring, and very good news; go make music. your next session could be a utility monster track! <br /> <br /> The name &quot;Utility Monster Track&quot; is in reference to the philosophical idea of a [[wikipedia:Utility_monster|utility monster]], which is a hypothetical being that experiences orders of magnitude higher levels of pain or pleasure than all other agents in a system. Thought experiments around utility monsters ask us to think about to what degree do we give extra ethical weight to a single moral patient that is experiencing these logarithmically extreme valance (the intrinsic felt goodness or badness of a moment of experience or part of experience) states when looking at an entire population of moral patients and agents. Utility Monsters are usually used in reductio ad absurdums against [[wikipedia:Utilitarianism|classical utilitarianism]], in which a hypothetical is raised such as &quot;if there was a single person in the world named Georgo (Jor-joh) that received 40 trillion pleasure units when he listened to a new fizz track, does that mean we should enslave every single musician on earth and just force them to make fizz all day so that Georgo could experience his 40 trillion pleasure units per fizz song, which would bring the net happiness in the universe up by an order of magnitude? I mean surely we must, given that Georgo's happiness would dwarf the net suffering of our brunt out fizz musicians we're holding at gunpoint and forcing to mine thingonium all day&quot;. <br /> <br /> The analogy to UMTs is just referencing that logarithmic difference of goodness in a population or set of things where a small percentage of those things have way more &quot;good unites&quot; than the others do. The name however was mostly selected because it's funny above any other reason.<br /> [[Category:Music Theory]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Utility_Monster_Track&diff=1295 2026-07-09T23:13:43Z

<p>ShankaraFizz: </p> <hr /> <div>A '''Utility Monster Track''' '''(UMT)''' is a released song that is orders of magnitude better, more enjoyed, or higher in [[The Thing|Thingonium]] than the vast majority, or even the entire rest of the discography of the artist(s) or band that released it. One of the most interesting things about UMTs is that they tend to be some the best songs of all time. Many people have at least one UMT they love, with the rest of the writer's discography being only glanced over, usually in disappointment when you realize that pales in comparison to the UMT, and doesn't even sound like it. UMTs are usually one-ofs, especially in the case of a mainstream pop artist that has that one completely ingenious banger you could deep listen to for 100 hours, but sometimes an artist or band will have several of them. A utility monster track is different from just a stand out song, where the difference is less extreme. <br /> <br /> This concept can also apply to improvised solos, where a musician has a stroke of total genius and plays [https://youtu.be/L_XJ_s5IsQc?si=C9XzS_pCpJKumAc9&amp;t=263 a solo out of no where seems to transcend reality itself with how incredible it is], though Michael League might [https://youtu.be/t7ZlZAGxgyg?si=z3dUrBiQgjVQzKRb&amp;t=51 disagree with this]. <br /> <br /> It is unknown how or why Utility Monster Tracks happen, but their implications could reveal important insights into how the human and specifically the artists' brain functions. Artistic output and how it works is still largely a mystery. It's easy to make fun of someone going full Rick Rubin about one of their tracks and going off about how they had no idea what they were doing when they were making it, but there is a lot of truth to these statements. There just seems to be these stars aligning moments that allow artists to output ingenious works, even if that isn't something they are regularly able to do reliably. &quot;Ingenious&quot; in this context is less likely to refer to technical facility (so not just someone suddenly and magically gaining 10 years of technical ability and specified musical vocabulary internalization overnight only to have it disappear into the void once the song or solo is over) and more likely to refer to internal structural consistency or cleverness of the ideas executed. Or if you're a Fizzhead: &quot;it has [[The Thing]]&quot;.<br /> <br /> One of the proposed reasons why this phenomenon happens is due to the hypothesis that artists are divided into two general groups: Those that cultivate inspiration (could be referred to affectionately as &quot;right brained musicians&quot;), and those have developed a reliable method for outputting music, even when not inspired (could be referred to affectionately as &quot;left brained musicians&quot;). Inspiration is that mystery thing no one fully understands, where artistic output just happens at a level beyond conscious knowledge via some crazy [[wikipedia:Dual_process_theory#System_1|system 1]] magic, or divine intervention, or whatever you believe in. A reliable method is a personal developed method of writing music formed through thousands of hours of consistent practice and [[Fizz De Novism|forcing of output]]. Because inspiration/divine intervention/neurological-magic is of limited supply and is something that comes and goes without warning (or [https://www.youtube.com/watch?v=xxR6Zi1euvc when you turn 30] if you are a doomer about this sort of thing), musicians that rely entirely on it only hit lightning in a bottle a few times in their life, thus resulting in these musical utility monsters. But this is just one hypothesis. <br /> <br /> It should be noted that utility monster tracks are not to be ashamed of. By their very name and nature, they make an artists entire career worth it. It is difficult to spell out just how good some UMTs actually are. One UMT is worth 20 mediocre tracks having to be made just to get to it. The non-UMTs of a musican with UMTs in their library aren't definitionally bad either, they can be really good. It's just about relative difference. UMTs should be seen as very inspiring, and very good news; go make music. your next session could be a utility monster track! <br /> <br /> The name &quot;Utility Monster Track&quot; is in reference to the philosophical idea of a [[wikipedia:Utility_monster|utility monster]], which is a hypothetical being that experiences orders of magnitude higher levels of pain or pleasure than all other agents in a system. Thought experiments around utility monsters ask us to think about to what degree do we give extra ethical weight to a single moral patient that is experiencing these logarithmically extreme valance (the intrinsic felt goodness or badness of a moment of experience or part of experience) states when looking at an entire population of moral patients and agents. Utility Monsters are usually used in reductio ad absurdum against [[wikipedia:Utilitarianism|classical utilitarianism]], in which a hypothetical is raised such as &quot;if there was a single person in the world named Georgo (Jor-joh) that received 40 trillion pleasure units when he listened to a new fizz track, does that mean we should enslave every single musician on earth and just force them to make fizz all day so that Georgo could experience his 40 trillion pleasure units per fizz song, which would bring the net happiness in the universe up by an order of magnitude? I mean surely we must, given that Georgo's happiness would dwarf the net suffering of our brunt out fizz musicians we're holding at gunpoint and forcing to mine thingonium all day&quot;. <br /> <br /> The analogy to UMTs is just referencing that logarithmic difference of goodness in a population or set of things where a small percentage of those things have way more &quot;good unites&quot; than the others do. The name however was mostly selected because it's funny above any other reason.<br /> [[Category:Music Theory]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Utility_Monster_Track&diff=1294 2026-07-09T23:11:26Z

<p>ShankaraFizz: </p> <hr /> <div>A '''Utility Monster Track''' '''(UMT)''' is a released song that is orders of magnitude better, more enjoyed, or higher in [[The Thing|Thingonium]] than the vast majority, or even the entire rest of the discography of the artist(s) or band that released it. One of the most interesting things about UMTs is that they tend to be some the best songs of all time. Many people have at least one UMT they love, with the rest of the writer's discography being only glanced over, usually in disappointment when you realize that pales in comparison to the UMT, and doesn't even sound like it. UMTs are usually one-ofs, especially in the case of a mainstream pop artist that has that one completely ingenious banger you could deep listen to for 100 hours, but sometimes an artist or band will have several of them. A utility monster track is different from just a stand out song, where the difference is less extreme. <br /> <br /> This concept can also apply to improvised solos, where a musician has a stroke of total genius and plays [https://youtu.be/L_XJ_s5IsQc?si=C9XzS_pCpJKumAc9&amp;t=263 a solo out of no where seems to transcend reality itself with how incredible it is], though Michael League might [https://youtu.be/t7ZlZAGxgyg?si=z3dUrBiQgjVQzKRb&amp;t=51 disagree with this]. <br /> <br /> It is unknown how or why Utility Monster Tracks happen, but their implications could reveal important insights into how the human and specifically the artists' brain functions. Artistic output and how it works is still largely a mystery. It's easy to make fun of someone going full Rick Rubin about one of their tracks and going off about how they had no idea what they were doing when they were making it, but there is a lot of truth to these statements. There just seems to be these stars aligning moments that allow artists to output ingenious works, even if that isn't something they are regularly able to do reliably. &quot;Ingenious&quot; in this context is less likely to refer to technical facility (so not just someone suddenly and magically gaining 10 years of technical ability and specified musical vocabulary internalization overnight only to have it disappear into the void once the song or solo is over) and more likely to refer to internal structural consistency or cleverness of the ideas executed. Or if you're a Fizzhead: &quot;it has [[The Thing]]&quot;.<br /> <br /> One of the proposed reasons why this phenomenon happens is due to the hypothesis that artists are divided into two general groups: Those that cultivate inspiration (could be referred to affectionately as &quot;right brained musicians&quot;), and those have developed a reliable method for outputting music, even when not inspired (could be referred to affectionately as &quot;left brained musicians&quot;). Inspiration is that mystery thing no one fully understands, where artistic output just happens at a level beyond conscious knowledge via some crazy [[wikipedia:Dual_process_theory#System_1|system 1]] magic, or divine intervention, or whatever you believe in. A reliable method is a personal developed method of writing music formed through thousands of hours of consistent practice and [[Fizz De Novism|forcing of output]]. Because inspiration/divine intervention/neurological-magic is of limited supply and is something that comes and goes without warning (or [https://www.youtube.com/watch?v=xxR6Zi1euvc when you turn 30] if you are a doomer about this sort of thing), musicians that rely entirely on it only hit lightning in a bottle a few times in their life, thus resulting in these musical utility monsters. But this is just one hypothesis. <br /> <br /> It should be noted that utility monster tracks are not to be ashamed of. By their very name and nature they make an artists entire career worth it. It is difficult to spell out just how good some UMTs actually are. One UMT is worth 20 mediocre tracks having to be made just to get to it. The non-UMTs of a musican with UMTs in their library aren't definitionally bad either, they can be really good. It's just about relative difference. <br /> <br /> The name &quot;Utility Monster Track&quot; is in reference to the philosophical idea of a [[wikipedia:Utility_monster|utility monster]], which is a hypothetical being that experiences orders of magnitude higher levels of pain or pleasure than all other agents in a system. Thought experiments around utility monsters ask us to think about to what degree do we give extra ethical weight to a single moral patient that is experiencing these logarithmically extreme valance (the intrinsic felt goodness or badness of a moment of experience or part of experience) states when looking at an entire population of moral patients and agents. Utility Monsters are usually used in reductio ad absurdum against [[wikipedia:Utilitarianism|classical utilitarianism]], in which a hypothetical is raised such as &quot;if there was a single person in the world named Georgo (Jor-joh) that received 40 trillion pleasure units when he listened to a new fizz track, does that mean we should enslave every single musician on earth and just force them to make fizz all day so that Georgo could experience his 40 trillion pleasure units per fizz song, which would bring the net happiness in the universe up by an order of magnitude? I mean surely we must, given that Georgo's happiness would dwarf the net suffering of our brunt out fizz musicians we're holding at gunpoint and forcing to mine thingonium all day&quot;. <br /> <br /> The analogy to UMTs is just referencing that logarithmic difference of goodness in a population or set of things where a small percentage of those things have way more &quot;good unites&quot; than the others do. The name however was mostly selected because it's funny above any other reason.<br /> [[Category:Music Theory]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Utility_Monster_Track&diff=1293 2026-07-09T23:09:29Z

<p>ShankaraFizz: </p> <hr /> <div>A '''Utility Monster Track''' '''(UMT)''' is a released song that is orders of magnitude better, more enjoyed, or higher in [[The Thing|Thingonium]] than the vast majority, or even the entire rest of the discography of the artist(s) or band that released it. One of the most interesting things about UMTs is that they tend to be some the best songs of all time. Many people have at least one UMT they love, with the rest of the writer's discography being only glanced over, usually in disappointment when you realize that pales in comparison to the UMT, and doesn't even sound like it. UMTs are usually one-ofs, especially in the case of a mainstream pop artist that has that one completely ingenious banger you could deep listen to for 100 hours, but sometimes an artist or band will have several of them. A utility monster track is different from just a stand out song, where the difference is less extreme. <br /> <br /> This concept can also apply to improvised solos, where a musician has a stroke of total genius and plays [https://youtu.be/L_XJ_s5IsQc?si=C9XzS_pCpJKumAc9&amp;t=263 a solo out of no where seems to transcend reality itself with how incredible it is], though Michael League might [https://youtu.be/t7ZlZAGxgyg?si=z3dUrBiQgjVQzKRb&amp;t=51 disagree with this]. <br /> <br /> It is unknown how or why Utility Monster Tracks happen, but their implications could reveal important insights into how the human and specifically the artists' brain functions. Artistic output and how it works is still largely a mystery. It's easy to make fun of someone going full Rick Rubin about one of their tracks and going off about how they had no idea what they were doing when they were making it, but there is a lot of truth to that. There seems to be some stars alignment moments that allow artists to output ingenious works, even if that isn't something they are regularly able to do reliably. &quot;Ingenious&quot; in this context is less likely to refer to technical facility (so not just someone suddenly and magically gaining 10 years of technical ability and specified musical vocabulary internalization overnight only to have it disappear into the void once the song or solo is over) and more likely to refer to internal structural consistency or cleverness of the ideas executed. Or if you're a Fizzhead: &quot;it has [[The Thing]]&quot;.<br /> <br /> One of the proposed reasons why this phenomenon happens is due to the hypothesis that artists are divided into two general groups: Those that cultivate inspiration (could be referred to affectionately as &quot;right brained musicians&quot;), and those have developed a reliable method for outputting music, even when not inspired (could be referred to affectionately as &quot;left brained musicians&quot;). Inspiration is that mystery thing no one fully understands, where artistic output just happens at a level beyond conscious knowledge via some crazy [[wikipedia:Dual_process_theory#System_1|system 1]] magic, or divine intervention, or whatever you believe in. A reliable method is a personal developed method of writing music formed through thousands of hours of consistent practice and [[Fizz De Novism|forcing of output]]. Because inspiration/divine intervention/neurological-magic is of limited supply and is something that comes and goes without warning (or [https://www.youtube.com/watch?v=xxR6Zi1euvc when you turn 30] if you are a doomer about this sort of thing), musicians that rely entirely on it only hit lightning in a bottle a few times in their life, thus resulting in these musical utility monsters. But this is just one hypothesis. <br /> <br /> It should be noted that utility monster tracks are not to be ashamed of. By their very name and nature they make an artists entire career worth it. It is difficult to spell out just how good some UMTs actually are. One UMT is worth 20 mediocre tracks having to be made just to get to it. The non-UMTs of a musican with UMTs in their library aren't definitionally bad either, they can be really good. It's just about relative difference. <br /> <br /> The name &quot;Utility Monster Track&quot; is in reference to the philosophical idea of a [[wikipedia:Utility_monster|utility monster]], which is a hypothetical being that experiences orders of magnitude higher levels of pain or pleasure than all other agents in a system. Thought experiments around utility monsters ask us to think about to what degree do we give extra ethical weight to a single moral patient that is experiencing these logarithmically extreme valance (the intrinsic felt goodness or badness of a moment of experience or part of experience) states when looking at an entire population of moral patients and agents. Utility Monsters are usually used in reductio ad absurdum against [[wikipedia:Utilitarianism|classical utilitarianism]], in which a hypothetical is raised such as &quot;if there was a single person in the world named Georgo (Jor-joh) that received 40 trillion pleasure units when he listened to a new fizz track, does that mean we should enslave every single musician on earth and just force them to make fizz all day so that Georgo could experience his 40 trillion pleasure units per fizz song, which would bring the net happiness in the universe up by an order of magnitude? I mean surely we must, given that Georgo's happiness would dwarf the net suffering of our brunt out fizz musicians we're holding at gunpoint and forcing to mine thingonium all day&quot;. <br /> <br /> The analogy to UMTs is just referencing that logarithmic difference of goodness in a population or set of things where a small percentage of those things have way more &quot;good unites&quot; than the others do. The name however was mostly selected because it's funny above any other reason.<br /> [[Category:Music Theory]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Fizz_is_Pop&diff=1292 2026-07-09T23:05:16Z

<p>ShankaraFizz: </p> <hr /> <div>[[File:Fizz is Pop.jpg|thumb|&quot;Fizz is Pop&quot; tongue in cheek bellcurve meme from the fizzmemes_ page on instagram]]<br /> '''&quot;Fizz is Pop&quot;''' is a saying in [[fizz]] music culture that brings light to the idea that fizz music, despite being a '''based''' genre (in the same broader way that progressive jazz and EDM music tend to be) is at its core far more about intentional clarity and defined gestures than about technicality or complexity as an end in and of itself (even though those things do show up all the time in fizz. &quot;unhinged musical shenanigans&quot; and &quot;music theory and sound design abuse&quot; are essential tenants of [[Torus of Fizzosophy|fizzosophy]] afterall). Fizz musicians commonly refer to this defined and intentional gestural clarity as &quot;[[The Thing]]&quot;, which is believed by some to be the [[Dark Fizz|most important idea]] in the [[Fizz Movement|fizz movement]] (aside from perhaps saving human made art itself from the coming [[The Great Slop Reset|slopocalypse]]) when you strip everything down to its core. This core philosophy and goal of &quot;Endless Pursuit of The Thing&quot; within fizz, as well as the tenant &quot;Everything Matters&quot; (where every single musical choice down to the smallest decisions about individual notes are recognized as a deliberate intentions that changes the final result) are philosophies that fizz music and pop music shares. This makes the best fizz music more in line the best pop music [[Fizz vs. Jazz|than it does with jazz]] music, which explains why based pop songs are far more talked about amongst fizz musicians than complex progressive jazz music is. <br /> <br /> The saying created in opposition to [[This-is-just-ism|denial of fizz as its own genre]] and as a clap-back to accusations that fizz musicians dislike simple music. Some of these accusations go as far accusing fizz musicians of being snobby and having naive elitism about music, implying that when a fizz musician dislikes a song it's because there aren't [[Oreo Theory|7+ notes per chord]] and the song isn't going full Tigran Hamasyan with the time signatures, rather than that maybe the song just isn't that interesting or is lacking in intention (something that both complex songs and simple songs can suffer from). These pervasive myths about fizz musicians' tastes never cease to get internal eye roles from fizz musicians that have heard it for the millionth time. Maybe you said it, and got sent this page in response, but it's okay, now you probably understand why it's wrong once you've gone [https://fizzwiki.com/Special:AllPages down the rabbit-hole] here. <br /> <br /> &quot;Fizz is pop&quot; in its phrasing is a bit of an aphorism, bordering on a humorous half truth and tongue and cheek metaphorical figure of speech. <br /> <br /> [[Category:Fizz Lore]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Fizz_is_Pop&diff=1291 2026-07-09T23:04:11Z

<p>ShankaraFizz: </p> <hr /> <div>[[File:Fizz is Pop.jpg|thumb|&quot;Fizz is Pop&quot; tongue in cheek bellcurve meme from the fizzmemes_ page on instagram]]<br /> '''&quot;Fizz is Pop&quot;''' is a saying in [[fizz]] music culture that brings light to the idea that fizz music, despite being a '''based''' genre (in the same broader way that progressive jazz and EDM music tend to be) is at its core far more about intentional clarity and defined gestures than about technicality or complexity as an end in and of itself (even though those things do show up all the time in fizz. &quot;unhinged musical shenanigans&quot; and &quot;music theory and sound design abuse&quot; are essential tenants of [[Torus of Fizzosophy|fizzosophy]] afterall). Fizz musicians commonly refer to this defined and intentional gestural clarity as &quot;[[The Thing]]&quot;, which is believed by some to be the [[Dark Fizz|most important idea]] in the [[Fizz Movement|fizz movement]] (aside from perhaps saving human made art itself from the coming [[The Great Slop Reset|slopocalypse]]) when you strip everything down to its core. This core philosophy and goal of &quot;Endless Pursuit of The Thing&quot; within fizz, as well as the tenant &quot;Everything Matters&quot; (where every single musical choice down to the smallest decisions about individual notes are recognized as a deliberate intentions that changes the final result) are philosophies that fizz music and pop music shares. This makes the best fizz music more in line the best pop music [[Fizz vs. Jazz|than it does with jazz]] music, which explains why based pop songs are far more talked about amongst fizz musicians than complex progressive jazz music is. <br /> <br /> The saying created in opposition to [[This-is-just-ism|denial of fizz as its own genre]] and as a clap-back to accusations that fizz musicians dislike simple music. Some of these accusations go as far accusing fizz musicians of being snobby and having naive elitism about music, implying that when a fizz musician dislikes a song it's because there aren't [[Oreo Theory|7+ notes per chord]] and the song isn't going full Tigran Hamasyan with the time signatures, rather than that maybe the song just isn't that interesting or is lacking in intention (something that both complex songs and simple songs can suffer from). These pervasive myths about fizz musicians' tastes never cease to get internal eye roles from fizz musicians that have heard it for the millionth time. Maybe you said it, and got sent this page in response, but it's okay, now you probably understand why it's wrong once you've gone down the rabbit whole here. <br /> <br /> &quot;Fizz is pop&quot; in its phrasing is a bit of an aphorism, bordering on a humorous half truth and tongue and cheek metaphorical figure of speech. <br /> <br /> [[Category:Fizz Lore]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Fizz_is_Pop&diff=1290 2026-07-09T23:03:36Z

<p>ShankaraFizz: </p> <hr /> <div>[[File:Fizz is Pop.jpg|thumb|&quot;Fizz is Pop&quot; tongue in cheek bellcurve meme from the fizzmemes_ page on instagram]]<br /> '''&quot;Fizz is Pop&quot;''' is a saying in [[fizz]] music culture that brings light to the idea that fizz music, despite being a '''based''' genre (in the same broader way that progressive jazz and EDM music tend to be) is at its core far more about intentional clarity and defined gestures than about technicality or complexity as an end in and of itself (even though those things do show up all the time in fizz. &quot;unhinged musical shenanigans&quot; and &quot;music theory and sound design abuse&quot; are essential tenants of [[Torus of Fizzosophy|fizzosophy]] afterall). Fizz musicians commonly refer to this defined and intentional gestural clarity as &quot;[[The Thing]]&quot;, which is believed by some to be the [[Dark Fizz|most important idea]] in the [[Fizz Movement|fizz movement]] (aside from perhaps saving human made art itself from the coming [[The Great Slop Reset|slopocalypse]]) when you strip everything down to its core. This core philosophy and goal of &quot;Endless Pursuit of The Thing&quot; within fizz, as well as the tenant &quot;Everything Matters&quot; (where every single musical choice down to the smallest decisions about individual notes are recognized as a deliberate intentions that changes the final result) are philosophies that fizz music and pop music shares. This makes the best fizz music more in line the best pop music [[Fizz vs. Jazz|than it does with jazz]] music, which explains why based pop songs are far more talked about amongst fizz musicians than complex progressive jazz music is. <br /> <br /> The saying created in opposition to [[This-is-just-ism|denial of fizz as its own genre]] and as a clap-back to accusations that fizz musicians dislike simple music. Some of these accusations go as far accusing fizz musicians of being snobby and having naive elitism about music, implying that when a fizz musician dislikes a song it's because there aren't [[Oreo Theory|7+ notes per chord]] and the song isn't going full Tigran Hamasyan with the time signatures, rather than that maybe the song just isn't that interesting or is lacking in intention (something that both complex songs and simple songs can suffer from). These pervasive myth about fizz musicians' tastes never cease to get internal eye roles from fizz musicians that have heard it for the millionth time. Maybe you said it, and got sent this page in response, but it's okay, now you probably understand why it's wrong once you've gone down the rabbit whole here. <br /> <br /> &quot;Fizz is pop&quot; in its phrasing is a bit of an aphorism, bordering on a humorous half truth and tongue and cheek metaphorical figure of speech. <br /> <br /> [[Category:Fizz Lore]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Fizz_is_Pop&diff=1289 2026-07-09T23:01:22Z

<p>ShankaraFizz: </p> <hr /> <div>[[File:Fizz is Pop.jpg|thumb|&quot;Fizz is Pop&quot; tongue in cheek bellcurve meme from the fizzmemes_ page on instagram]]<br /> '''&quot;Fizz is Pop&quot;''' is a saying in [[fizz]] music culture that brings light to the idea that fizz music, despite being a '''based''' genre (in the same broader way that progressive jazz and EDM music tend to be) is at its core far more about intentional clarity and defined gestures than about technicality or complexity as an end in and of itself (even though those things do show up all the time in fizz. &quot;unhinged musical shenanigans&quot; and &quot;music theory and sound design abuse&quot; are essential tenants of [[Torus of Fizzosophy|fizzosophy]] afterall). Fizz musicians commonly refer to this defined and intentional gestural clarity as &quot;[[The Thing]]&quot;, which is believed by some to be the [[Dark Fizz|most important idea]] in the [[Fizz Movement|fizz movement]] (aside from perhaps saving human made art itself from the coming [[The Great Slop Reset|slopocalypse]]) when you strip everything down to its core. This core philosophy and goal of &quot;Endless Pursuit of The Thing&quot; within fizz, as well as the tenant &quot;Everything Matters&quot; (where every single musical choice down to the smallest decisions about individual notes are recognized as a deliberate intentions that changes the final result) are philosophies that fizz music and pop music shares. This makes the best fizz music more in line the best pop music [[Fizz vs. Jazz|than it does with jazz]] music, which explains why based pop songs are far more talked about amongst fizz musicians than complex progressive jazz music is. <br /> <br /> The saying created in opposition to [[This-is-just-ism|denial of fizz as its own genre]] and as a clapback to accusations that fizz musicians dislike simple music. Some of these accusations go as far accusing fizz musicians of being snobby and having naive elitism about music, implying that the reason a fizz musicians dislikes a song, is that there aren't [[Oreo Theory|7+ notes per chord]] and the song isn't going full Tigran Hamasyan with the time signatures, rather than that maybe the song just isn't that interesting or is lacking in intention (something that both complex songs and simple songs can suffer from). These pervasive myth about fizz musicians' tastes never cease to get internal eye roles from fizz musicians that have heard it for the millionth time. Maybe you said it, and got sent this page in response, but it's okay, now you probably understand why it's wrong once you've gone down the rabbit whole here. <br /> <br /> &quot;Fizz is pop&quot; in its phrasing is a bit of an aphorism, bordering on a humorous half truth and tongue and cheek metaphorical figure of speech. <br /> <br /> [[Category:Fizz Lore]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=The_Great_Slop_Reset&diff=1288 2026-07-09T23:00:58Z

<p>ShankaraFizz: </p> <hr /> <div>The '''Great Slop Reset''' refers to the idea that all pieces of human made artistic output that previously could have been considered slop all lost their slop status the day genAI output in those artistic fields begin flooding the internet, all of which automatically falls into the slop category due to being AI rather than human. <br /> <br /> The word slop is still going to be used to describe low effort, trashy, or cliche human output because it is still a useful term, but this is just a useful fiction, unlike genAI output, which is going to always tell a worse story than anything a human made, no matter how much it conforms to our cultural cannon of what makes good art.<br /> [[Category:Fizz Community]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=The_Great_Slop_Reset&diff=1287 2026-07-09T23:00:37Z

<p>ShankaraFizz: </p> <hr /> <div>The '''Great Slop Reset''' refers to the idea that all pieces of human made artistic output that previously could have been considered slop all lost their slop status the day GenAI output in those artistic fields begin flooding the internet, all of which automatically falls into the slop catigory due to being AI rather than human. <br /> <br /> The word slop is still going to be used to describe low effort, trashy, or cliche human output because it is still a useful term, but this is just a useful fiction, unlike genAI output, which is going to always tell a worse story than anything a human made, no matter how much it comforms to our cultural cannon of what makes good art.<br /> [[Category:Fizz Community]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Fizz_De_Novism&diff=1269 2026-07-08T22:20:36Z

<p>ShankaraFizz: </p> <hr /> <div>Have you ever heard a musician you admire give the advice &quot;don't try to force the writing process when it's not working, the results aren't great&quot;, and just felt kind of depressed afterwards, as if we're all subject to some kind of musical predestination in how much we can output, and that no one is in control of it at all? Many of us do, and many of us do not want to submit to this fatalistic mindset. '''De Novism''' (or Denovism, Fizz De Novism) in a nutshell is the view that new ideas and new concepts can always be forced into existence without the permission of a natural force to carry it for you. The concept goes beyond just artistic output or forcing together new musical ideas without feeling inspiration to get you there, and extends to concepts and ideas themselves, which makes de novism an [[wikipedia:Autological_word|autological word]]. De novism is seen by some as presently countercultural, taking a rebellious stance against the [[Kumbaya Ideology|Kumbaya Industrial Complex]] and agency denying ideologies at their core. <br /> <br /> The fizz movement at its core, is denovist in nature, with its [[Torus of Fizzosophy|philosophy]], tenants, image, and self actualization as its own genre being forced into existence without permission, and [[This-is-just-ism|without care what others think]].<br /> <br /> === Practices and Mantras in De Novism ===<br /> '''&quot;You can always force musical/artistic output&quot;.''' It doesn't matter if you don't feel like it, if you don't feel inspiration, if no ideas are coming to you in your head, if you are brutally tinkering with individual notes to get there; you can always force it. Even if it's objectively true you presently cannot, you cannot possibly know that, so don't act as if it's true. Take the denovism wager.<br /> <br /> '''Denovists love forcing new names for things into existence for concepts they are forcing into existence:''' A denovist doesn't succumb to culture or individual pressure telling them their ideas are stupid. Creating new ideas that are useful, and acting as if they've always been reel, and giving them a name, or heck, just giving a name to something that already exists, but everyone was afraid to give it a name. You can always force it. <br /> <br /> '''In the words of Adam Neely Himself: &quot;'''fizz is life&quot;. No wait. Wrong one.&quot;Repetition Legitimizes&quot;. That's the one. Denovism when used to spread concepts is essensially just applied &quot;repetition legitimizes&quot; at mass cultural scale. <br /> <br /> [[Category:Fizz Lore]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Fizz_De_Novism&diff=1268 2026-07-08T22:19:46Z

<p>ShankaraFizz: </p> <hr /> <div>Have you ever heard a musician you admire give the advice &quot;don't try to force the writing process when it's not working, the results aren't great&quot;, and just felt kind of depressed afterwards, as if we're all subject to some kind of musical predestination in how much we can output, and that no one is in control of it at all? Many of us do, and many of us do not want to submit to this fatalistic mindset. '''De Novism''' (or Denovism, Fizz De Novism) in a nutshell is the view that new ideas and new concepts can always be forced into existence without the permission of a natural force to carry it for you. The concept goes beyond just artistic output or forcing together new musical ideas without feeling inspiration to get you there, and extends to concepts and ideas themselves, which makes de novism an [[wikipedia:Autological_word|autological word]]. De novism is seen by some as presently countercultural, taking a rebellious stance against the [[Kumbaya Ideology|Kumbaya Industrial Complex]] and agency denying ideologies at their core. <br /> <br /> The fizz movement at its core, is denovist in nature, with its [[Torus of Fizzosophy|philosophy]], tenants, image, and self actualization as its own genre being forced into existence without permission, and [[This-is-just-ism|without care what others think]].<br /> <br /> === Practices and Mantras in De Novism ===<br /> '''&quot;You can always force musical/artistic output&quot;.''' It doesn't matter if you don't feel like it, if you don't feel inspiration, if no ideas are coming to you in your head, if you are brutally tinkering with individual notes to get there; you can always force it. Even if it's objectively true you presently cannot, you cannot possibly know that, so don't act as if it's true. Take the denovism wager.<br /> <br /> '''Denovists love forcing new names for things into existence for concepts they are forcing into existence:''' A denovist doesn't succumb to culture or individual pressure telling them their ideas are stupid. Creating new ideas that are useful, and acting as if they've always been reel, and giving them a name, or heck, just giving a name to something that already exists, but everyone was afraid to give it a name. You can always force it. <br /> <br /> '''In the words of Adam Neely Himself: &quot;'''fizz is life&quot;. No wait. Wrong one. '''It's''': repetition legitimizes&quot;. Denovism when used to spread concepts is applied &quot;repetition legitimizes&quot; at mass cultural scale. <br /> <br /> [[Category:Fizz Lore]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Fizz_De_Novism&diff=1265 2026-07-08T22:00:12Z

<p>ShankaraFizz: </p> <hr /> <div>Have you ever heard a musician you admire give the advice &quot;don't try to force the writing process when it's not working, the results aren't great&quot;, and just felt kind of depressed afterwards, as if we're all subject to some kind of musical predestination in how much we can output, and that no one is in control of it at all? Many of us do, and many of us do not want to submit to this fatalistic mindset. '''De Novism''' (or Denovism, Fizz De Novism) in a nutshell is the view that new ideas and new concepts can always be forced into existence without the permission of a natural force to carry it for you. The concept goes beyond just artistic output or forcing together new musical ideas without feeling inspiration to get you there, and extends to concepts and ideas themselves, which makes de novism an [[wikipedia:Autological_word|autological word]]. De novism is seen by some as presently countercultural, taking a rebellious stance against the [[Kumbaya Ideology|Kumbaya Industrial Complex]] and agency denying ideologies at their core. <br /> <br /> The fizz movement at its core, is denovist in nature, with its [[Torus of Fizzosophy|philosophy]], tenants, image, and self actualization as its own genre being forced into existence without permission, and [[This-is-just-ism|without care what others think]].<br /> <br /> === Practices and Mantras in De Novism ===<br /> '''&quot;You can always force musical/artistic output&quot;.''' It doesn't matter if you don't feel like it, if you don't feel inspiration, if no ideas are coming to you in your head, if you are brutally tinkering with individual notes to get there; you can always force it. Even if it's objectively true you presently cannot, you cannot possibly know that, so don't act as if it's true. Take the denovism wager.<br /> <br /> '''Denovists love forcing new names for things into existence for concepts they are forcing into existence:''' A denovist doesn't succumb to culture or individual pressure telling them their ideas are stupid. Creating new ideas that are useful, and acting as if they've always been reel, and giving them a name, or heck, just giving a name to something that already exists, but everyone was afraid to give it a name. You can always force it. <br /> <br /> [[Category:Fizz Lore]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Fizz_is_Pop&diff=1263 2026-07-08T21:21:52Z

<p>ShankaraFizz: </p> <hr /> <div>[[File:Fizz is Pop.jpg|thumb|&quot;Fizz is Pop&quot; tongue in cheek bellcurve meme from the fizzmemes_ page on instagram]]<br /> '''&quot;Fizz is Pop&quot;''' is a saying in fizz music culture that brings light to the idea that fizz music, despite being a &quot;by musicians for musicians&quot; genre (in the same broader way that progressive jazz and EDM music tend to be) is at it's core far more about intentional clarity and defined gestures than about technicality or complexity as an end in and of itself (even though those things do show up all the time in fizz. &quot;unhinged musical shenanigans&quot; and &quot;music theory and sound design abuse&quot; are essential tenants of [[Torus of Fizzosophy|fizzosophy]] afterall). Fizz musicians commonly refer to this defined and intentional gestural clarity as &quot;[[The Thing]]&quot;, which is believed by some to be the [[Dark Fizz|most important idea in the fizz movement]] (aside from perhaps saving human made art itself from the coming [[The Great Slop Reset|slopocalypse]]) when you strip everything down to its core. This core philosophy and goal of &quot;Endless Pursuit of The Thing&quot; within fizz, as well as the tenant &quot;Everything Matters&quot; (where every single musical choice down to the smallest decisions about individual notes are recognized as a deliberate intentions that changes the final result) are philosophies that fizz music and pop music shares. This makes the best fizz music more in line the best pop music [[Fizz vs. Jazz|than it does with jazz]] music, which explains why based pop songs are far more talked about amongst fizz musicians than complex progressive jazz music is. <br /> <br /> The saying created in opposition to [[This-is-just-ism|denial of fizz as its own genre]] and as a clapback to accusations that fizz musicians dislike simple music. Some of these accusations go as far accusing fizz musicians of being snobby and having naive elitism about music, implying that the reason a fizz musicians dislikes a song, is that there aren't [[Oreo Theory|7+ notes per chord]] and the song isn't going full Tigran Hamasyan with the time signatures, rather than that maybe the song just isn't that interesting or is lacking in intention (something that both complex songs and simple songs can suffer from). These pervasive myth about fizz musicians' tastes never cease to get internal eye roles from fizz musicians that have heard it for the millionth time. Maybe you said it, and got sent this page in response, but it's okay, now you probably understand why it's wrong once you've gone down the rabbit whole here. <br /> <br /> &quot;Fizz is pop&quot; in its phrasing is a bit of an aphorism, bordering on a humorous half truth and tongue and cheek metaphorical figure of speech. <br /> <br /> [[Category:Fizz Lore]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=The_Great_Slop_Reset&diff=1242 2026-07-07T03:30:29Z

<p>ShankaraFizz: Created page with &quot;The &#039;&#039;&#039;Great Slop Reset&#039;&#039;&#039; refers to the idea that all pieces of human made artistic output that previously could have been considered slop all lost their slop status the day GenAI output in those artistic fields begin flooding the internet, all of which automatically falls into the slop catigory due to being AI rather than human. The word slop is still going to be used to describe low effort, trashy, or cliche human output because it is still a useful term, but this i...&quot;</p> <hr /> <div>The '''Great Slop Reset''' refers to the idea that all pieces of human made artistic output that previously could have been considered slop all lost their slop status the day GenAI output in those artistic fields begin flooding the internet, all of which automatically falls into the slop catigory due to being AI rather than human. <br /> <br /> The word slop is still going to be used to describe low effort, trashy, or cliche human output because it is still a useful term, but this is just a useful fiction, unlike genAI output, which is going to always tell a worse story than anything a human made, no matter how how it comforms to our cultural cannon of what makes good art.</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Utility_Monster_Track&diff=1231 2026-07-06T19:34:04Z

<p>ShankaraFizz: </p> <hr /> <div>A '''Utility Monster Track''' (UMT) is a released song that is orders of magnitude better, more enjoyed, or higher in [[The Thing|Thingonium]] than the vast majority, or even the entire rest of the discography of the artist(s) or band that released it. One of the most interesting things about UMTs is that they tend to be some of one's favorite songs of all time. Many people have at least one UMT they love, with the rest of the writer's discography being only glanced over, usually in disappointment when you realize that pales in comparison to the UMT, and doesn't even sound like it. UMTs are usually one-ofs, especially in the case of a mainstream pop artist that has that one completely ingenious banger you could deep listen to for 100 hours, but sometimes an artist or band will have several of them. A utility monster track is different from just a stand out song, where the difference is less extreme. <br /> <br /> This concept can also apply to improvised solos, where a musician has a stroke of total genius and plays [https://youtu.be/L_XJ_s5IsQc?si=C9XzS_pCpJKumAc9&amp;t=263 a solo out of no where seems to transcend reality itself with how incredible it is], though Michael League might [https://youtu.be/t7ZlZAGxgyg?si=z3dUrBiQgjVQzKRb&amp;t=51 disagree with this]. <br /> <br /> It is unknown how or why Utility Monster Tracks happen, but their implications could reveal important insights into how the human and specifically the artists' brain functions. Artistic output and how it works is still largely a mystery. It's easy to make fun of someone going full Rick Rubin about one of their tracks and going off about how they had no idea what they were doing when they were making it, but there is a lot of truth to that. There seems to be some stars alignment moments that allow artists to output ingenious works, even if that isn't something they are regularly able to do reliably. &quot;Ingenious&quot; in this context is less likely to refer to technical facility (so not just someone suddenly and magically gaining 10 years of technical ability and specified musical vocabulary internalization overnight only to have it disappear into the void once the song or solo is over) and more likely to refer to internal structural consistency or cleverness of the ideas executed. Or if you're a Fizzhead: &quot;it has [[The Thing]]&quot;.<br /> <br /> One of the proposed reasons why this phenomenon happens is due to the hypothesis that artists are divided into two general groups: Those that cultivate inspiration (could be referred to affectionately as &quot;right brained musicians&quot;), and those have developed a reliable method for outputting music, even when not inspired (could be referred to affectionately as &quot;left brained musicians&quot;). Inspiration is that mystery thing no one fully understands, where artistic output just happens at a level beyond conscious knowledge via some crazy [[wikipedia:Dual_process_theory#System_1|system 1]] magic, or divine intervention, or whatever you believe in. A reliable method is a personal developed method of writing music formed through thousands of hours of consistent practice and [[Fizz De Novism|forcing of output]]. Because inspiration/divine intervention/neurological-magic is of limited supply and is something that comes and goes without warning (or [https://www.youtube.com/watch?v=xxR6Zi1euvc when you turn 30] if you are a doomer about this sort of thing), musicians that rely entirely on it only hit lightning in a bottle a few times in their life, thus resulting in these musical utility monsters. But this is just one hypothesis. <br /> <br /> It should be noted that utility monster tracks are not to be ashamed of. By their very name and nature they make an artists entire career worth it. It is difficult to spell out just how good some UMTs actually are. One UMT is worth 20 mediocre tracks having to be made just to get to it. The non-UMTs of a musican with UMTs in their library aren't definitionally bad either, they can be really good. It's just about relative difference. <br /> <br /> The name &quot;Utility Monster Track&quot; is in reference to the philosophical idea of a [[wikipedia:Utility_monster|utility monster]], which is a hypothetical being that experiences orders of magnitude higher levels of pain or pleasure than all other agents in a system. Thought experiments around utility monsters ask us to think about to what degree do we give extra ethical weight to a single moral patient that is experiencing these logarithmically extreme valance (the intrinsic felt goodness or badness of a moment of experience or part of experience) states when looking at an entire population of moral patients and agents. Utility Monsters are usually used in reductio ad absurdum against [[wikipedia:Utilitarianism|classical utilitarianism]], in which a hypothetical is raised such as &quot;if there was a single person in the world named Georgo (Jor-joh) that received 40 trillion pleasure units when he listened to a new fizz track, does that mean we should enslave every single musician on earth and just force them to make fizz all day so that Georgo could experience his 40 trillion pleasure units per fizz song, which would bring the net happiness in the universe up by an order of magnitude? I mean surely we must, given that Georgo's happiness would dwarf the net suffering of our brunt out fizz musicians we're holding at gunpoint and forcing to mine thingonium all day&quot;. <br /> <br /> The analogy to UMTs is just referencing that logarithmic difference of goodness in a population or set of things where a small percentage of those things have way more &quot;good unites&quot; than the others do. The name however was mostly selected because it's funny above any other reason.<br /> [[Category:Music Theory]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Musical_Stream_Entry&diff=1226 2026-07-06T17:54:04Z

<p>ShankaraFizz: Created page with &quot;&#039;&#039;&#039;Musical Stream Entry&#039;&#039;&#039; is a hypothetical school/subfield of ear training that focuses on one&#039;s inward perception of music and its processing sonically and emotionally in the body and mind in real time. MSE differs from &quot;external&quot; ear training in which a musican is essentially learning to percieve music theory itself within musical input or is learning to increase their particle awareness. Despite this differentiation, traditional ear training and MSE in theory co...&quot;</p> <hr /> <div>'''Musical Stream Entry''' is a hypothetical school/subfield of ear training that focuses on one's inward perception of music and its processing sonically and emotionally in the body and mind in real time. MSE differs from &quot;external&quot; ear training in which a musican is essentially learning to percieve music theory itself within musical input or is learning to increase their [[particle awareness]]. Despite this differentiation, traditional ear training and MSE in theory compliment each other perfectly, as processing of music theory concepts within musical input also has its own internal process. MSE already is used in some form by many musicians, such as whem they play chords or listen to music and ask themselves how they feel. MSE can be thought of as a form of real time musical meta cognition and body/emotional awareness that is practiced and made easier over time. If external ear training is trying to increase one's raw bit rate in processing music and learning to understand it better, MSE is attempting to increase the bit rate of one's awareness of music being processed itself. In traditional listening, you have your awareness and attention on the song. in MSE, you have your awareness and attention on your own mind and body's processing of the song.</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Destroy_Daw_December&diff=1221 2026-07-06T07:41:03Z

<p>ShankaraFizz: </p> <hr /> <div>[[File:Day 23 DDD.jpg|thumb]]<br /> '''Destroy Daw December''' (DDD) is a hypothetical event and fizz holy month/holiday in which a musician spends every waking moment available to them using and increasing knowledge of their DAW (digital audio workstation) during the month of December. While it has been talked about for years, no one has yet been confirmed to have completed DDD. It is worth noting that due to the rules of DDD, it functions as a natural continuation of No Nut November as well. <br /> <br /> === Rules of Destroy Daw December ===<br /> -DDD begins at 12:00am December 1st and ends at anytime chosen on the 31st.<br /> <br /> -all waking moments that are freely available must be spent inside the DAW or going between a DAW tutorial and your DAW.<br /> <br /> -Take the minimal amount of time needed to fulfill bodily needs and financial obligations.<br /> <br /> -exercise and/or meditation routines are allowed, but no more than what is needed to maintain current health and focus. Exeptions can be made if total focus ability improves significantly with some extra time allocated.<br /> <br /> -Social media may be used to document progress or share WIPs for feedback, so long all time spent is used for this purpose only.<br /> <br /> -Christmas Eve and Christmas Day where family is spending time together for December holidays is optional time off.</div>

ShankaraFizz http://fizzwiki.com/index.php?title=File:Day_23_DDD.jpg&diff=1220 2026-07-06T07:40:50Z

<p>ShankaraFizz: </p> <hr /> <div>Me Krabs Day 23 DDD</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Cruel_Ragebait&diff=1219 2026-07-06T05:49:14Z

<p>ShankaraFizz: </p> <hr /> <div>'''Cruel Ragebait''' is a layered form of incendiary behavior that is practiced by people who have hierarchical power over a population who is harmed by their actions. Essentially, it is when someone or a group of people is acting in a way that causes real harm to or violates the rights of others, and they do so while creating a (usually) hyperbolic, pseudo-parody representation of their actions, typically in the form of trolling/ragebait, jokes, memes, or quips. Cruel Ragebait is meant to be enjoyed by those that hold the power, as well as by people who support their actions and are &quot;in&quot; on the &quot;joke&quot; and understand the cruel ragebait intention.<br /> <br /> The use of generative AI among cruel ragebaiters has grown heavily in popularity. Cruel ragebait and slop go hand and hand, so where ever you find cruel ragebait, there's a good chance you'll find slop being used to enact it. <br /> [[File:Trump.jpg|thumb]] <br /> [[Category:Other]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Algorithmic_Entropy&diff=1218 2026-07-06T05:42:53Z

<p>ShankaraFizz: </p> <hr /> <div>'''Algorithmic Entropy''' is the common phenomenon of media recommendation/suggestions/autoplay/mix algorithms undergoing drift into lower common denominator media/music overtime, largely due to the way that recommendation algorithms handle &quot;risk taking&quot; (being weighted towards being careful not to rec you something you might not like) and the way &quot;shared audience&quot; is a core vector in the decision process. Algorithmic Entropy can be particularly annoying if you are a musician that just found a cool track and wish to find more stuff like it, such as being a [[Torus of Fizzosophy|Fizz]] musician and letting your playlist autoplay after Fizz vol. 1 or [[Telefuzz]] vol. 1, and before you know it you're listening to popular Vulfpeck songs from 2019. <br /> <br /> &quot;Dude the algorithmic entropy on Youtube Music is so hilariously bad, I was just listening to some cool girl indie electronica music and after only like five songs it was just a sea of 6-2-5-1-strummed-on-a-guitar-with-a-soft-voice-core&quot;<br /> <br /> &quot;yeah it makes sense you got algorithmic entropy after that song since you are listening for the genius production while most people just came for the vocals&quot;<br /> <br /> === The Slay Queen Problem ===<br /> One of the most brutal examples of algorithmic entropy is commonly experienced by fans of &quot;elevated&quot; dance/synth/electro/club/DnB pop music, which many musicians love. Many of these artists, such as Pink Pantheress or charliexcx, have an undeniable &quot;slay queen&quot; aesthetic to them. It's great. It's part of their vibe and aesthetic and it serves their style well, and it makes total sense that the girlies and the gays love these artists, but this slay queen aesthetic is shared among many female pop artists of greatly varying subgenres e.i Pink Pantheress, charliexcx, Doja Cat, Zara Larsson, Upsahl, Ariana Grande, Sabrina Carpenter, Chappell Roan, etc, which results in all of them being put into one shared basked of listeners who derive their music taste from that shared slay culture. This results in particularly harsh algorithmic drift for listeners that were hoping to discover more songs that share sonic and structural vectors rather than a shared cultural aesthetic.<br /> [[Category:Music Theory]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Algorithmic_Entropy&diff=1217 2026-07-06T05:42:35Z

<p>ShankaraFizz: /* The &quot;Slay Queen&quot; Problem: */</p> <hr /> <div>'''Algorithmic Entropy''' is the common phenomenon of media recommendation/suggestions/autoplay/mix algorithms undergoing drift into lower common denominator media/music overtime, largely due to the way that recommendation algorithms handle &quot;risk taking&quot; (being weighted towards being careful not to rec you something you might not like) and the way &quot;shared audience&quot; is a core vector in the decision process. Algorithmic Entropy can be particularly annoying if you are a musician that just found a cool track and wish to find more stuff like it, such as being a [[Torus of Fizzosophy|Fizz]] musician and letting your playlist autoplay after Fizz vol. 1 or [[Telefuzz]] vol. 1, and before you know it you're listening to popular Vulfpeck songs from 2019. <br /> <br /> &quot;Dude the algorithmic entropy on Youtube Music is so hilariously bad, I was just listening to some cool girl indie electronica music and after only like five songs it was just a sea of 6-2-5-1-strummed-on-a-guitar-with-a-soft-voice-core&quot;<br /> <br /> &quot;yeah it makes sense you got algorithmic entropy after that song since you are listening for the genius production while most people just came for the vocals&quot;<br /> <br /> === The &quot;Slay Queen&quot; Problem ===<br /> One of the most brutal examples of algorithmic entropy is commonly experienced by fans of &quot;elevated&quot; dance/synth/electro/club/DnB pop music, which many musicians love. Many of these artists, such as Pink Pantheress or charliexcx, have an undeniable &quot;slay queen&quot; aesthetic to them. It's great. It's part of their vibe and aesthetic and it serves their style well, and it makes total sense that the girlies and the gays love these artists, but this slay queen aesthetic is shared among many female pop artists of greatly varying subgenres e.i Pink Pantheress, charliexcx, Doja Cat, Zara Larsson, Upsahl, Ariana Grande, Sabrina Carpenter, Chappell Roan, etc, which results in all of them being put into one shared basked of listeners who derive their music taste from that shared slay culture. This results in particularly harsh algorithmic drift for listeners that were hoping to discover more songs that share sonic and structural vectors rather than a shared cultural aesthetic.<br /> [[Category:Music Theory]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Destroy_Daw_December&diff=1216 2026-07-06T05:42:01Z

<p>ShankaraFizz: </p> <hr /> <div>'''Destroy Daw December''' (DDD) is a hypothetical event and fizz holy month/holiday in which a musician spends every waking moment available to them using and increasing knowledge of their DAW (digital audio workstation) during the month of December. While it has been talked about for years, no one has yet been confirmed to have completed DDD. It is worth noting that due to the rules of DDD, it functions as a natural continuation of No Nut November as well. <br /> <br /> === Rules of Destroy Daw December ===<br /> -DDD begins at 12:00am December 1st and ends at anytime chosen on the 31st.<br /> <br /> -all waking moments that are freely available must be spent inside the DAW or going between a DAW tutorial and your DAW.<br /> <br /> -Take the minimal amount of time needed to fulfill bodily needs and financial obligations.<br /> <br /> -exercise and/or meditation routines are allowed, but no more than what is needed to maintain current health and focus. Exeptions can be made if total focus ability improves significantly with some extra time allocated.<br /> <br /> -Social media may be used to document progress or share WIPs for feedback, so long all time spent is used for this purpose only.<br /> <br /> -Christmas Eve and Christmas Day where family is spending time together for December holidays is optional time off.</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Destroy_Daw_December&diff=1215 2026-07-06T05:39:48Z

<p>ShankaraFizz: </p> <hr /> <div>'''Destroy Daw December''' (DDD) is a hypothetical event and fizz holy month/holiday in which a musician spends every waking moment available to them using and increasing knowledge of their DAW (digital audio workstation) during the month of December. While it has been talked about for years, no one has yet been confirmed to have completed DDD. It is worth noting that due to the rules of DDD, it functions as a natural continuation of No Nut November as well. <br /> <br /> === Rules of Destroy Daw December ===<br /> -DDD begins at 12:00am December 1st and ends at anytime chosen on the 31st.<br /> <br /> -all waking moments that are freely available must be spent inside the DAW or going between a DAW tutorial and your DAW.<br /> <br /> -Take the minimal amount of time needed to fulfill bodily needs and financial obligations.<br /> <br /> -exercise and/or meditation routines are allowed, but no more than what is needed to maintain current health and focus. Exeptions can be made if total focus ability improves significantly with some extra time allocated.<br /> <br /> -Social media may be used to document progress or share WIPs for feedback, so long all time spent is used for this purpose only.<br /> <br /> -Christmas Eve and Christmas day where family is spending time together for December holidays is allowed time off.</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Destroy_Daw_December&diff=1214 2026-07-06T05:37:23Z

<p>ShankaraFizz: Created page with &quot;Destroy Daw December (DDD) is a hypothetical event and fizz holy month/holiday in which a musician spends every waking moment available to them using and increasing knowledge of their DAW (digital audio workstation) during the month of December. While it has been talked about for years, no one has yet been confirmed to have completed DDD. It is worth noting that due to the rules of DDD, it functions as a natural continuation of No Nut November as well. Rules of Destroy...&quot;</p> <hr /> <div>Destroy Daw December (DDD) is a hypothetical event and fizz holy month/holiday in which a musician spends every waking moment available to them using and increasing knowledge of their DAW (digital audio workstation) during the month of December. While it has been talked about for years, no one has yet been confirmed to have completed DDD. It is worth noting that due to the rules of DDD, it functions as a natural continuation of No Nut November as well. <br /> <br /> Rules of Destroy Daw December <br /> <br /> -DDD begins at 12:00am December 1st and ends at anytime chosen on the 31st.<br /> <br /> -all waking moments that are freely available must be spent inside the DAW or going between a DAW tutorial and your DAW.<br /> <br /> -Take the minimal amount of time needed to fulfill bodily needs and financial obligations.<br /> <br /> -exercise and/or meditation routines are allowed, but no more than what is needed to maintain current health and focus. Exeptions can be made if total focus ability improves significantly with some extra time allocated.<br /> <br /> -Social media may be used to document progress or share WIPs for feedback, so long all time spent is used for this purpose only.<br /> <br /> -Christmas Eve and Christmas day where family is spending time together for December holidays is allowed time off.</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Utility_Monster_Track&diff=1213 2026-07-06T00:13:34Z

<p>ShankaraFizz: </p> <hr /> <div>A '''Utility Monster Track''' (UMT) is a released song that is orders of magnitude better, more enjoyed, or higher in [[The Thing|Thingonium]] than the vast majority, or even the entire rest of the discography of the artist(s) or band that released it. One of the most interesting things about UMTs is that they tend to be some of one's favorite songs of all time. Many people have at least one UMT they love, with the rest of the writer's discography being only glanced over, usually in disappointment when you realize that pales in comparison to the UMT, and doesn't even sound like it. UMTs are usually one-ofs, especially in the case of a mainstream pop artist that has that one completely ingenious banger you could deep listen to for 100 hours, but sometimes an artist or band will have several of them. A utility monster track is different from just a stand out song, where the difference is less extreme. <br /> <br /> This concept can also apply to improvised solos, where a musician has a stroke of total genius and plays [https://youtu.be/L_XJ_s5IsQc?si=C9XzS_pCpJKumAc9&amp;t=263 a solo out of no where seems to transcend reality itself with how incredible it is], though Michael League might [https://youtu.be/t7ZlZAGxgyg?si=z3dUrBiQgjVQzKRb&amp;t=51 disagree with this]. <br /> <br /> It is unknown how or why Utility Monster Tracks happen, but their implications could reveal important insights into how the human and specifically the artists' brain functions. Artistic output and how it works is still largely a mystery. It's easy to make fun of someone going full Rick Rubin about one of their tracks and going off about how they had no idea what they were doing when they were making it, but there is a lot of truth to that. There seems to be some stars alignment moments that allow artists to output ingenious works, even if that isn't something they are regularly able to do reliably. &quot;Ingenious&quot; in this context is less likely to refer to technical facility (so not just someone suddenly and magically gaining 10 years of technical ability and specified musical vocabulary internalization overnight only to have it disappear into the void once the song or solo is over) and more likely to refer to internal structural consistency or cleverness of the ideas executed. Or if you're a Fizzhead: &quot;it has [[The Thing]]&quot;.<br /> <br /> One of the proposed reasons why this phenomenon happens is due to the hypothesis that artists are divided into two general groups: Those that cultivate inspiration (could be referred to affectionately as &quot;right brained musicians&quot;), and those have developed a reliable method for outputting music, even when not inspired (could be referred to affectionately as &quot;left brained musicians&quot;). Inspiration is that mystery thing no one fully understands, where artistic output just happens at a level beyond conscious knowledge via some crazy [[wikipedia:Dual_process_theory#System_1|system 1]] magic, or divine intervention, or whatever you believe in. A reliable method is a personal developed method of writing music formed through thousands of hours of consistent practice and [[Fizz De Novism|forcing of output]]. Because inspiration/divine intervention/neurological-magic is of limited supply and is something that comes and goes without warning (or [https://www.youtube.com/watch?v=xxR6Zi1euvc when you turn 30] if you are a doomer about this sort of thing), musicians that rely entirely on it only hit lightning in a bottle a few times in their life, thus resulting in these musical utility monsters. But this is just one hypothesis. <br /> <br /> It should be noted that utility monster tracks are not to be ashamed of. By their very name and nature they make an artists entire career worth it. It is difficult to spell out just how good some UMTs actually are. One UMT is worth 20 mediocre tracks having to be made just to get to it. The non-UMTs of a musican with UMTs in their library aren't definitionally bad either, they can be really good. It's just about relative difference. <br /> <br /> The name &quot;Utility Monster Track&quot; is in reference to the philosophical idea of a [[wikipedia:Utility_monster|utility monster]], which is a hypothetical being that experiences orders of magnitude higher levels of pain or pleasure than the majority of agents in a system. Thought experiments around utility monsters ask us to think about to what degree do we give extra ethical weight to a single moral patient that is experiencing these logarithmically extreme valance (the intrinsic felt goodness or badness of a moment of experience or part of experience) states when looking at an entire population of moral patients and agents. Utility Monsters are usually used in reductio ad absurdum against [[wikipedia:Utilitarianism|classical utilitarianism]], in which a hypothetical is raised such as &quot;if there was a single person in the world named Georgo (Jor-joh) that received 40 trillion pleasure units when he listened to a new fizz track, does that mean we should enslave every single musician on earth and just force them to make fizz all day so that Georgo could experience his 40 trillion pleasure units per fizz song, which would bring the net happiness in the universe up by an order of magnitude? I mean surely we must, given that Georgo's happiness would dwarf the net suffering of our brunt out fizz musicians we're holding at gunpoint and forcing to mine thingonium all day&quot;. <br /> <br /> The analogy to UMTs is just referencing that logarithmic difference of goodness in a population or set of things where a small percentage of those things have way more &quot;good unites&quot; than the others do. The name however was mostly selected because it's funny above any other reason.<br /> [[Category:Music Theory]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=Cruel_Ragebait&diff=1208 2026-07-05T19:56:54Z

<p>ShankaraFizz: </p> <hr /> <div>'''Cruel Ragebait''' is a layered form of incendiary behavior that is practiced by people who have hierarchical power over a population who is harmed by their actions. Essentially, it is when someone or a group of people is acting in a way that causes real harm to or violates the rights of others, and they do so while creating a (usually) hyperbolic, pseudo-parody representation of their actions, typically in the form of trolling/ragebait, jokes, memes, or quips. Cruel Ragebait is meant to be enjoyed by those that hold the power, as well as by people who support their actions and are &quot;in&quot; on the &quot;joke&quot; and understand the cruel ragebait intention.<br /> <br /> The use of generative AI among cruel ragebaiters has grown heavily in popularity. Cruel ragebait and slop go hand and hand, so where ever you find cruel ragebait, there's a good chance you'll find slop being used to enact it. <br /> [[File:Trump.jpg|thumb|&lt;blockquote&gt;&lt;/blockquote&gt;]] <br /> [[Category:Other]]</div>

ShankaraFizz http://fizzwiki.com/index.php?title=File:Trump.jpg&diff=1207 2026-07-05T19:56:28Z

<p>ShankaraFizz: </p> <hr /> <div>Donny T</div>

ShankaraFizz